Memory and Commemoration in Medieval Culture by Cohen Meredith. Franklin-Brown Mary. Brenner Elma. & Meredith Cohen & Mary Franklin-Brown

Author:Cohen, Meredith.,Franklin-Brown, Mary.,Brenner, Elma. & Meredith Cohen & Mary Franklin-Brown
Language: eng
Format: epub
Publisher: Taylor & Francis (CAM)
Published: 2013-01-15T00:00:00+00:00

1 The manuscript discussed in this chapter, Biblioteka Kórnicka 824 (hereafter ‘BK 824’), was the subject of my PhD dissertation, ‘Fonctions et usages des images dans les manuscrits juridiques. Le Digestum Vetus de Justinien de la Bibliothèque de Kórnik, BK 824’ (CESCM, Poitiers/ Warsaw University, 2007).

2 Frances A. Yates, The Art of Memory (London, 1966); Mary Carruthers, The Book of Memory: A Study of Memory in Medieval Culture (Cambridge, 1990); Mary Carruthers, The Craft of Thought: Meditation, Rhetoric, and the Making of Images, 400–1200 (Cambridge, 1998).

3 See Sylvia Huot, ‘Visualisation and Memory: The Illustration of Troubadour Lyric in a Thirteenth-Century Manuscript’, Gesta, 31 (1992): pp. 11–12 and Susan Lewis, Reading Images: Narrative Discourse and Reception in the Thirteenth-century Illuminated Apocalypse (Cambridge, 1995), pp. 250–53; for a more nuanced opinion, see Lucy Freeman Sandler, ‘The Study of Marginal Imagery: Past, Present, and Future’, Studies in Iconography, 18 (1997): pp. 40–43.

4 In the Middle Ages the 50-book Digest was separated into three volumes: vetus, infortiatum and novum.

5 The Kórnik Digest follows the standards in production of legal manuscripts, noticeable already around the mid-twelfth century: a double-column format and text divisions consisting of rubricated books (libri), titles (tituli) and laws (leges) with inscriptiones beginning with an initial in red or blue. It is also distinctive for its inclusion of several pre-accursian glosses, both interlinear and marginal. Gero Dolezalek roughly dated the manuscript to the end of the twelfth century in his Verziechnis der Handschriften zum römischen Recht bis 1600 (4 vols, Frankfurt, 1972), vol. 1 (Kórnik), a dating with which I concur. For further discussion of the dating of the manuscript, see my ‘Fonctions et usages’, pp. 34–52.

6 The main artist, Master A, can be identified with the Master of the Albenga Psalter (see Anna de Floriani, Miniature parigine del Duecento: il Salterio di Albenga e altri manoscritti (Genoa, 1990)). Master B, who worked with an apprentice, is perhaps the illuminator of the Lewis Psalter (Philadelphia, Free Library), ms. E 185. The work of Master C, the only non-Parisian contributor, seems similar to that of the English artist of the Huntingfield Psalter (New York, Pierpont Morgan Library), M. 43. For a more detailed analysis, see my ‘Supplément ou commentaire? Les enjeux de l’illustration textuelle dans le Digestum vetus de Justinien (Bibliothèque de Kórnik, ms. 824)’, Biuletyn Historii Sztuki, 70 (2008): pp. 63–89.

7 The instructions are still visible in some bas-de-pages. They are transcribed in my ‘Pomiędzy tekstem i obrazem. Dyrektywy dla miniaturzystów w Digestach Justyniana’, Ikonotheka (2005): pp. 1–21 (with a summary in French).

8 The first version of the glossa ordinaria was ready in the 1220s, but Accursius (c. 1182–1263) never ceased amending and adding to his commentary. See Frank Sotermeer, Utrumque ius in peciis. Aspetti della produzione libraria a Bologna fra due e trecento (Milan, 1997), p. 45.

9 These marginal drawings have been the subject of some occasional references: see Susan L’Engle and Robert Gibbs, Illuminating the Law: Legal Manuscripts in Cambridge Collections (London, 2001), pp. 105–10 (Cat. No. 1) and Barbara

Download

Copyright Disclaimer:
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.