Fragment of a 1,750-year-old New Testament translation discovered

One of the oldest textual witnesses to the Gospels, a small manuscript fragment of the Syriac translation from Greek written in the 3rd century and copied in the 6th century, was discovered in the Vatican Library using ultraviolet photography by a researcher from the Austrian Academy of Sciences.


The fragment of the Syriac translation of the New Testament under UV light Credit: Vatican Library
The fragment of the Syriac translation of the New Testament under UV light Credit: Vatican Library

About 1,300 years ago a scribe in Palestine took a book of the Gospels inscribed with a Syriac text and erased it. Parchment was scarce in the desert in the Middle Ages, so manuscripts were often erased and reused. A medievalist from the Austrian Academy of Sciences (OeAW) has now been able to make legible the lost words on this layered manuscript, a so-called palimpsest: Grigory Kessel discovered one of the earliest translations of the Gospels, made in the 3rd century and copied in the 6th century, on individual surviving pages of this manuscript. The findings are published in the journal New Testament Studies.

OeAW researcher Grigory Kessel (© private).

One of the oldest fragments that testifies ancient Syrian version

“The tradition of Syriac Christianity knows several translations of the Old and New Testaments,” says medievalist Grigory Kessel. “Until recently, only two manuscripts were known to contain the Old Syriac translation of the gospels.” While one of these is now kept in the British Library in London, another was discovered as a palimpsest in St. Catherine’s Monastery at Mount Sinai. The fragments from the third manuscript were recently identified in the course of the “Sinai Palimpsests Project.”

The small manuscript fragment, which can now be considered as the fourth textual witness, was identified by Grigory Kessel using ultraviolet photography as the third layer of text, i.e., double palimpsest, in the Vatican Library manuscript. The fragment is so far the only known remnant of the fourth manuscript that attests to the Old Syriac version—and offers a unique gateway to the very early phase in the history of the textual transmission of the Gospels.

For example, while the original Greek of Matthew chapter 12, verse 1 says, “At that time Jesus went through the grainfields on the Sabbath; and his disciples became hungry and began to pick the heads of grain and eat,” the Syriac translation says, “[…] began to pick the heads of grain, rub them in their hands, and eat them.”

Again, the fragment of the Syriac translation of the New Testament under UV light Credit: Vatican Library

Claudia Rapp, director of the Institute for Medieval Research at the OeAW, says, “Grigory Kessel has made a great discovery thanks to his profound knowledge of old Syriac texts and script characteristics.” The Syriac translation was written at least a century before the oldest Greek manuscripts that have survived, including the Codex Sinaiticus. The earliest surviving manuscripts with this Syriac translation date from the 6th century and are preserved in the erased layers, so-called palimpsests, of newly written parchment leaves.

OeAW historian Claudia Rapp (©Nina Tschavoll)

“This discovery proves how productive and important the interplay between modern digital technologies and basic research can be when dealing with medieval manuscripts,” Claudia Rapp says.

More information: Grigory Kessel, “A New (Double Palimpsest) Witness to the Old Syriac Gospels (Vat. iber. 4, ff. 1 & 5)”, New Testament Studies (2023). DOI: 10.1017/S0028688522000182GO TO ARTICLE

See also
Syriac text (Grigory Kessel)
Greek text (Andras Nemeth)
Georgian text (Bernard Outtier)

Source: Österreichische Akademie der Wissenschaften

Getty Adds Early Medieval Manuscript and Annibale Carracci Painting

Both acquisitions significantly add to the collection and include an important manuscript commissioned by a female patron almost a thousand years ago and a rare painting by one of the founding fathers of Italian Baroque painting

Irmengard and Her Husband Werner, shortly after 1053, German. Tempera colors, gold, and ink. Image courtesy of Dr. Guenther Rare Books AG, Basel. 2023.6.253v

Los Angeles – The Getty Museum announced today two major acquisitions: the Irmengard Codex, a manuscript made for the eleventh-century noblewoman Irmengard of Nellenburg, a member of the House of Egisheim-Dagsburg in Germany; and Madonna and Child with Saint Lucy, Saint Dominic, and Saint Louis of France by the renowned and influential Italian painter Annibale Carracci.

“These two exquisite acquisitions add key works to our representation of northern European medieval manuscript illumination and to our already strong holdings of seventeenth-century paintings,” says Timothy Potts, Maria Hummer-Tuttle and Robert Tuttle Director of the Getty Museum. “The Irmengard Codex, with its unusually rich body of imagery, is a spectacular example of early medieval manuscript illumination, the likes of which has not appeared on the market in over half a century. And together with Caravaggio, Annibale was one of the prime instigators of the baroque movement in Italian art.” 

Irmengard Codex

The Angel at the Empty Tomb of Christ, shortly after 1053, German. Tempera colors, gold, and ink. Image courtesy of Dr. Guenther Rare Books AG, Basel. 2023.6.118

The Irmengard Codex was created in Germany in the mid-11th century. A collection of readings for the Mass, the manuscript contains 15 full-page illuminations executed in the otherworldly pinks, blues, and lavenders that characterize painting of the so-called long Ottonian era. The Ottonian Empire took its name from three consecutive emperors named Otto, who ruled in the 10th and early 11th centuries, but the cultural age continued into the reign of the Salian emperors, who ruled Germanic lands from 1024 to 1125. Irmengard of Nellenburg, the codex’s patron, was a member of a powerful local ruling family, the House of Egisheim-Dagsburg. She was related to Pope Leo IX (1002-1054) and was the Ottonian Emperor Henry II’s niece (973-1024).

Based on the script, it is thought that the text of the Irmengard Codex was written around 1030-1050. The full-page miniatures were added shortly after 1053 at the order of Irmengard. The illumination program culminates in an extremely rare dedication image in which Irmengard presents her book in memory of her deceased husband Werner and their son Adalbert, who were killed in 1053 at the Battle of Civitate. The starkly beautiful illuminations include portraits of the four evangelists and images that highlight the most important feasts of the Christian calendar. Illuminations such as the Annunciation and the Three Marys at the Tomb are conceived as double-page spreads, with the scene spanning across both pages to form a single composition. This dramatic narrative device was also utilized in the final two-page spread featuring Irmengard and her husband offering the book itself to Christ and Saint Michael.

“The Irmengard Codex represents the preeminent center of German illumination of the period, the Reichenau school, in which the powerful and theatrical figures underscore the stateliness of events they enact,” says Elizabeth Morrison, senior curator of manuscripts at the Getty Museum. “We have been unable to add any object from this remote era to the collection since the 1980s, so it is impossible to overstate the historic rarity of this acquisition.”

The manuscript will be showcased in an upcoming exhibition in Fall 2023. 

Annibale Carracci Painting

Madonna and Child with Saints Lucy, Dominic, and Louis of France, about 1596–1598, Annibale Carracci. Oil on copper, 17 1/8 × 13 1/4 in. The J. Paul Getty Museum, Los Angeles, 2023.3

In this small-scale painting on copper, Annibale created a composition that is both intimate and monumental. The Virgin sits on the left, wrapped in the traditional blue mantle and red dress. The Christ child sits precariously on a silk pillow placed on his mother’s lap. Saint Lucy kneels before the Virgin and Child in a red dress with a yellow cloak and a white veil covering her head. From behind, two other saints, Saint Louis of France and Saint Dominic, watch the scene in devotion. The scene is painted in warm golden sunlight and opens into a landscaped background.

In the painting, the Virgin exhibits the grace and nobility of Madonnas painted by Raphael, while the warm light pervading the scene recalls that of Correggio, the two Italian artists Annibale revered most. The painting also represents Annibale at the peak of his artistic maturity, when he moved to Rome in 1595 to paint frescos in the Palazzo Farnese, works that would greatly influence the course of seventeenth-century art.

Annibale has a limited body of work due partly to his relatively short life (1560-1609) and the fact that his major works are still in situ in Italian churches and palaces. Even so, he is considered one of the founding fathers of Italian Baroque painting. Although Annibale could depict everyday scenes with remarkable truth, his visual world remained firmly idealized based on classical concepts of harmony and balance, which contrasted with the more radical vision of his contemporary and rival Caravaggio. 

“Annibale Carracci is one of the creators of the visual language of the Baroque with its emphasis on gestures and emotion,” says Davide Gasparotto, senior curator of paintings at the Getty Museum. “He executed a handful of paintings on copper destined for exacting patrons. This painting, although small in scale, is quite ambitious in terms of composition and perfectly encapsulates the style Annibale developed after he moved to Rome from Bologna in 1595.”

The acquisition expands a group of other paintings on copper in the collection including The Way to Calvary by Domenichino and The Shade of Samuel Invoked by Saul by the Neapolitan Bernardo Cavalino. The painting also compliments a small selection of works on paper by Annibale and his brother Agostino Carracci in the Museum’s drawings collection. 

The painting will go on display at the Getty Center in April 2023 in Gallery N205.

More info: www.getty.edu

Via Getty Museum

Virtual Exhibition “Switzerland’s illuminated treasures – Sacred and profane manuscripts” on e-codices

This spring, e-codices, in collaboration with the Abbey Library of St. Gallen and the Fondation Martin Bodmer (Cologny) organized simultaneous exhibitions in St. Gallen and Cologny entitled “Illuminated Manuscript Trove of Switzerland”. Unfortunately, due to the COVID-19 pandemic, the St. Gallen exhibition is temporarily closed to the public, and the Cologny exhibition has been postponed. While it cannot replace the physical exhibition, e-codices’ virtual exhibition remains open.

The exhibitions celebrate the fifteenth anniversary of the e-codices project, the Swiss platform for the digitisation of manuscripts. In this connection, both collections are showing highlights from their own holdings as well as a large number of valuable loans from other libraries participating in the e-codices programme.

All exhibited manuscripts are available online on e-codices (see list of manuscripts).

Source: E-Codices

 

An important Anglo-Saxon manuscript acquired for the nation – Medieval manuscripts blog

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A 10th-century Anglo-Saxon manuscript has been added to the collection of the British Library. Comprising a single leaf of a benedictional, the manuscript in question has been acquired from the estate of Stephen Keynes. It will now be available for consultation by researchers in the BL’s Manuscripts Reading Room (Add MS 89378), and it can be examined online on BL’s Digitised Manuscripts site.

Sorgente: An important Anglo-Saxon manuscript acquired for the nation – Medieval manuscripts blog

The J. Paul Getty Museum Presents Artful Words: Calligraphy in Illuminated Manuscripts

LOS ANGELES – The written word was a major art form in the premodern world. Calligraphers filled the pages of manuscripts with scrolling vines and delicate pen flourishes, and illuminators depicted captivating narratives with large letterforms. These decorative embellishments reveal the monetary, cultural, and spiritual value placed on handmade books at the time. Offering an exploration of decorated letters, Artful Words: Calligraphy in Illuminated Manuscripts, provides insight to the artistic trends that shaped calligraphic practice from England to Central Europe and beyond for nearly one thousand years.

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            Three types of decorated letters were employed in the handwritten book arts of the Middle Ages: ornamented letters, formed by abstract foliate motifs; inhabited letters, in which strokes of the letter are made up of animal, human, or hybrid forms; and historiated initials, in which the letter includes figures or other content related to the text.

            The alphabetic adornments in this exhibition appear in manuscripts that range from a Bible and a Qur’an to books of prayer, law, and history. The calligraphers who made them combined script and ornament to embellish pages, while illuminators developed original and complex strategies for fitting miniature stories into individual letters. Several of the manuscripts feature signatures by the scribes, calligraphers, or artists.

            “We consume words in a variety of ways—in handwritten, printed, and digital media—decoding messages that are communicated not just by the combination of phrases but also by their design and styling,” said Bryan C. Keene, associate curator of manuscripts. “Among the highlights in the exhibition is a grouping of manuscripts penned by the famous scribe David Aubert for Duchess Margaret of York, as well as a Qur’an paired with an Italian ceramic vase with imitation Arabic script.”

            Artful Words: Calligraphy in Illuminated Manuscripts will be on view December 18, 2018, through April 7, 2019 at the J. Paul Getty Museum. The exhibition is curated by Keene and Katherine Sedovic, former graduate intern in the Manuscripts Department. Related programming will include gallery talks, lectures, and more. Additional information can be found at getty.edu/360.

Medieval Illumination: Manuscript Art in England and France — For the Wynn

An important milestone has been reached in the Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700-1200. The book which accompanies the project has now been published, in paperback, in English and in French. Medieval Illumination: Manuscript Art in England and France, edited by Kathleen Doyle […]

via Medieval Illumination: Manuscript Art in England and France — For the Wynn

The J. Paul Getty Museum Presents “Art of Three Faiths: a Torah, a Bible, and a Qur’an”

LOS ANGELES – The J. Paul Getty Museum in Los Angeles, Ca (USA) recently announced the acquisition of the Rothschild Pentateuch, a manuscript of the first five books of the Hebrew Bible, known as the Torah. Its acquisition, coupled with works already in the Museum’s manuscripts collection, allows the Getty to represent the medieval art of illumination in sacred texts from the three Abrahamic religions—Judaism, Christianity, and Islam. Art of Three Faiths: A Torah, a Bible, and a Qur’an, on view August 7, 2018 through February 3, 2019, showcases three spectacular examples of each of these three: a Christian Bible and a Qur’an will be shown alongside the newly acquired Torah.

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Decorated Text Page (Book of Genesis) from the Rothschild
Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4
in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 32v

            “This landmark acquisition fulfills one of the Museum’s longstanding goals of adding to our collection a Hebrew manuscript that can stand comparison in quality and importance to our finest illuminated manuscripts of other languages and faiths,” explains Timothy Potts, director of the J. Paul Getty Museum. “It has taken 35 years, but the Rothschild Pentateuch fills this gap more brilliantly than we could ever have imagined. An amazingly rare and beautiful object, richly illuminated with all manner of real and imaginary animals, it also broadens greatly the narratives we are able to tell about life, culture and religion in the Middle Ages. The acquisition will be a highlight of an upcoming exhibition that brings together – for the first time at the Getty – the sacred texts of the three Abrahamic religions, something that I am sure will deepen the experience of these works for many of our visitors, and be a rich subject of study for scholars.”

l2017146_478_low
Moses Addressing the Israelites (Book of Deuteronomy) from the
Rothschild Pentateuch. Joel ben Simeon, Italy, about 1450–
1500. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116
(2018.43), fol. 478

            Judaism, Christianity, and Islam trace their belief in the singular God to a common patriarch, the figure of Abraham. The practitioners of all three religions have been called “people of the book” for their shared belief in the importance of the divine word, rendered in medieval manuscripts in glowing gold and luminous colors on parchment.

            The Torah is the central sacred text of Judaism. In the strictest sense, the word refers to the Pentateuch, which contains the books of Moses: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. Illuminated copies of the Hebrew Bible in codex form, rather than Torah scrolls, began to appear in the mid-thirteenth century. In northern Europe, these manuscripts served the needs of members of the Ashkenazi Jewish community who had settled in the area along the Rhine River. Lavishly illustrated Hebrew manuscripts are exceedingly rare, since Jewish artisans were forbidden by law to join painting guilds. Hebrew manuscripts were often written by itinerant Jewish scribes and illuminated by local, sometimes Christian, artists. Illumination of the Hebrew Bible centers on the calligraphic forms of the letters, such as initials, word panels, or decorative frames around blocks of text.

l2017146_226v_low
Menorah of the Tabernacle (Book of Leviticus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 226v

            ”The three objects on display are exceptionally beautiful artworks that we hope will spark meaningful dialogue among various audiences,” said Elizabeth Morrison, senior curator of Manuscripts at the Getty Museum. “Museums offer more than simply an aesthetic experience. Through exhibitions such as this one, they foster a deeper understanding of history that helps us to reflect on our own shared experiences.”

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Decorated Text Page (Book of Exodus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 119v

            Among the earliest bound and illuminated codices from the Mediterranean world are copies of the Christian Bible written in Greek, Latin, Syriac, Ge’ez, Armenian, and other languages. The first part of the Christian Bible consists of texts from the Hebrew Bible, referred to since the second century by Christian writers as the Old Testament. Medieval Christians understood it not only as a historical document but also as a body of prophecy that specifically foretold the coming of Christ. The New Testament comprises accounts of Christ’s life, the Gospels, letters to churches or individuals from his disciples, such as apostles Peter and Paul, and a text about the end of time known as Apocalypse or Revelation. Illuminated Bibles—handwritten and printed alike—are among the most enduring forms of Christian book art produced during the Middle Ages.

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Decorated Text Page (Book of Exodus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 130

            The words that the angel Jibril (Gabriel) recited to the prophet Muhammad ibn Abdullah, about 560-632, formed the sacred text of the Qur’an. The opening line, “In the name of Allah, most gracious, most merciful,” a central tenet of Islam that expresses submission to the will of Allah, is repeated in almost every surah or chapter. Muslims transmitted scripture through oral tradition for the first few centuries, and later recorded it through beautiful and ornate calligraphy. Artists incorporated Quranic verses into books, textiles, coins, ceramics, and architecture, demonstrating reverence for the written word. Throughout the Middle Ages, the Islamic word spanned a vast territory, from the Iberian Peninsula to northern and coastal Africa, across the Mediterranean basin, and as far as Central and Eastern Asia.

            Art of Three Faiths: A Torah, a Bible, and a Qur’an is curated by Kristen Collins, Bryan Keene, and Elizabeth Morrison, of the department of Manuscripts at the J. Paul Getty Museum. The exhibition will be on view August 7, 2018 through February 3, 2019.

Source: Official Pressrelease

J. Paul Getty Museum Announces Landmark Acquisition of a Medieval Hebrew Manuscript

LOS ANGELES – The J. Paul Getty Museum announced the acquisition of the Rothschild Pentateuch, the most spectacular medieval Hebrew manuscript to become available in more than a century. The acquisition was made possible with the generous support of Jo Carole and Ronald S. Lauder.

 

L_2017_146_226v
Menorah of the Tabernacle (Book of Leviticus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 226v

            “The Rothschild Pentateuch will be the greatest High Medieval Hebrew manuscript in the United States, and one of the most important illuminated Hebrew Bibles of any period,” says Timothy Potts, director of the J. Paul Getty Museum. “Its richly illuminated pages – a great rarity in the thirteenth century – make it a work of outstanding quality and importance that represents the pinnacle of artistic achievement of its day. It will be one of the most signal treasures of the Department of Manuscripts and indeed of the Getty Museum overall.”

            Potts adds: “It is especially gratifying that this landmark acquisition was generously supported by our Trustee Ronald S. Lauder and his wife, Jo Carole.”

            Created by an unknown artist and dated 1296, the manuscript’s pages are filled with lively decorative motifs, hybrid animals and humanoid figures, and astonishing examples of micrography–virtuosic displays of tiny calligraphy in elaborate patterns and designs. The vibrant colors and gleaming gold distinguish this manuscript from most medieval Hebrew book production, which followed a largely textual tradition. It stands apart from other medieval examples through the appeal and extent of its illustrated program. The text contains features that indicate it may have been written in France for Jewish emigres who had been expelled from England in 1290. The illumination was likely completed in France or Germany.

            The Pentateuch contains the central sacred text of Judaism–the Torah in the strictest sense–comprising theFive Books of Moses: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. The manuscript’s lavish illumination divides the text into sections to be read weekly so that the entire Torah would be read over the course of a year. The opening of each of the five books is celebrated with monumental Hebrew initials intertwined with lively marginal figures and, in one case, a full-page illumination.

            With its seemingly endless variety of illuminated motifs ranging from the imposing to the whimsical, the Rothschild Pentateuch is a prime example of the heights of originality and magnificence that Hebrew illumination achieved and stands as the most extensive illuminated program of any northern European Hebrew Bible to survive from the Middle Ages.

            In a rare deviation from the rest of the manuscript’s aniconic approach, there is one illumination featuring full human figures that was added at a later date. In the second half of the fifteenth century one page was replaced with a new insertion, carefully replicating the text and commentaries. The folio can be identified as the work of Joel ben Simeon, one of the most celebrated Jewish artists known from the period. The replacement miniature represents the sole figural narrative in the Rothschild Pentateuch, but was inspired with the same kind of ingenuity that characterizes the rest of the manuscript.

            “This acquisition allows us to represent the three Abrahamic religions of the period, and for the first time brings a medieval Hebrew illuminated manuscript to the Los Angeles area,” says Elizabeth Morrison, senior curator in the Manuscripts Department. “The cohesiveness of the visual program combined with its unbounded ingenuity shows how medieval artisans approached the complex problem of page design and tackled a project as ambitious as the Rothschild Pentateuch.”

            The Rothschild Pentateuch was created in 1296 perhaps for a patron originally from England. It was carried through the centuries from France or Germany to Italy and Poland, and was eventually acquired by Baroness Edmond de Rothschild at some point before 1920, and then given after World War II to a German-Jewish family, who later settled in Israel, as a part of an exchange agreement.

            Adds Morrison, “The storied voyage of this manuscript follows the history of the Jewish diaspora across time and space. This newest addition to our collection will allow us to present a more inclusive story of the Middle Ages at a time when the Getty is increasingly looking to a global approach in the visual arts.”

            The Rothschild Pentateuch will make its debut at the Getty Center in Art of Three Faiths: A Torah, a Bible, and a Qur’an on view August 7, 2018 to February 3, 2019, an exhibition showcasing for the first time the sacred texts of Judaism, Christianity, and Islam. The practitioners of these three faiths have been called people of the book for their shared belief in the importance of divine word, rendered in medieval manuscripts in glowing gold and luminous colors on parchment. Three spectacular examples from the Getty’s permanent collection, including a Christian Bible and a Qur’an together with the newly acquired Torah, will be featured in this spotlight show.

Medieval Monsters: Terrors, Aliens, Wonders showing at the Morgan’s

8-siren
Siren, from Abus du Monde (The Abuses of the World), France, Rouen, ca. 1510, The Morgan Library & Museum, MS M.42, fol. 15r.

Monsters captivated the imagination of medieval men and women, just as they continue to fascinate us today. Drawing on the Morgan’s superb collection of illuminated manuscripts, this major exhibition, the first of its kind in North America, will explore the complex social role of monsters in the Middle Ages. Medieval Monsters will lead visitors through three sections based on the ways monsters functioned in medieval societies. “Terrors” explores how monsters enhanced the aura of those in power, be they rulers, knights, or saints. A second section on “Aliens” demonstrates how marginalized groups in European societies—such as Jews, Muslims, women, the poor, and the disabled—were further alienated by being figured as monstrous. The final section, “Wonders”, considers a group of strange beauties and frightful anomalies that populated the medieval world. Whether employed in ornamental, entertaining, or contemplative settings, these fantastic beings were meant to inspire a sense of marvel and awe in their viewers.

 

Medieval Monsters: Terrors, Aliens, Wonders is generously supported by an anonymous gift in memory of Melvin R. Seiden, The Janine Luke and Melvin R. Seiden Fund for Exhibitions and Publications, the Andrew W. Mellon Research and Publications Fund, the National Endowment for the Arts, the Charles E. Pierce, Jr. Fund for Exhibitions, and Mrs. Alexandre P. Rosenberg.

Medieval Monsters: Terrors, Aliens, Wonders
June 8 through September 23, 2018

Info: http://www.themorgan.org

Digitization and libraries, the future of the past: conference in Rome

ROME – Between 2012 and 2017 the Bodleian Libraries of the University of Oxford and the Biblioteca Apostolica Vaticana (Vatican Library) joined efforts in a landmark digitization project with the aim of opening up their repositories of ancient texts. More than 1.5 million pages from their remarkable collections have been made freely available online to researchers and to the general public. The initiative was made possible by a £2 million award from The Polonsky Foundation. Dr Leonard Polonsky, who is committed to democratizing access to information, sees the increase of digital access to these two library collections — among the greatest in the world — as a significant step in sharing intellectual resources on a global scale.

To mark the end of the project, a ground-breaking conference on digitization and libraries is being held in Rome on 30 May 2018. The venue is the Conference Centre at the Augustinian Patristic Institute, which is situated just off St Peter’s Square. In the context of the Polonsky project this free conference will look at the future of digitized collections and their funding, with prominent speakers from different libraries and funding bodies across Europe.

The conference will be in English, with simultaneous translation into Italian.

Conference programme

9.15-9.30am
Welcome from Msgr. Cesare Pasini, Prefect, Vatican Apostolic Library

9.30-10.15am
Opening plenary: From Mabillon to Munich Digital: access, technology and scholarship
Anthony Grafton, Princeton University

10.15-10.45am
Coffee

10.45am-12.05pm
Session one: Oxford, the Vatican and the Polonsky Project
Speakers:

  • Timothy Janz, Director, Printed Books Dept, Vatican Apostolic Library
  • Paola Manoni, Responsible for the Coordination of IT Services, Vatican Apostolic Library
  • César Merchan-Hamann, Hebraica and Judaica Curator, Bodleian Libraries
  • Emma Stanford, Digital Curator, Bodleian Libraries

12.05-12.25pm
Questions

12.25-1.30pm
Lunch

1.30-2.30pm
Session two: The future of digital libraries
Speakers will include:

  • Dr Kristian Jensen, Head of Arts and Humanities, British Library
  • Jill Cousins, Director, Hunt Museum, Limerick
  • Dr Cristina Dondi, University of Oxford

2.30-3pm
Questions

3-3.30pm
Tea break

3.30-4.15pm
Roundtable discussion: funding digitization

  • Marc Polonsky, The Polonsky Foundation
  • Charles Henry, Council on Library and Information Resources
  • Maja Kominko, Arcadia Foundation

4.15-4.30pm
Closing remarks

  • Richard Ovenden, Bodley’s Librarian, Bodleian Libraries

The Bodleian Libraries and Biblioteca Apostolica Vaticana are grateful to Antonio and Patricia Bonchristiano for their generous support of this conference.

 

DATE AND TIME

Wed 30 May 2018

09:15 – 16:30 CEST

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LOCATION

Conference Centre, Institutum Patristicum Augustinianum

25 Via Paolo VI

00193 Roma

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Via Eventbrite