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Gaia Bencini Mphil Thesis Copia University of Oxford Master of Philosophy in Egyptology Thesis The fascination for ancient Egypt and the interpretation of hieroglyphs in 18th century Rome: Pietro Bracci’s unpublished manuscript ‘I Geroglifici ed Obelischi Eggizzi’ Trinity Term 2018 Gaia Bencini Bencini Gaia © Preface This is a Master thesis completed on the 18th May 2018 for the degree of Master of Philosophy in Egyptology at the University of Oxford. Bencini Gaia © © Gaia Bencini 1 Acknowledgements My deepest gratitude goes to all the Griffith Institute’s staff and especially to Dr. Francisco Bosch-Puche for allowing me to work on the Bracci manuscript and for always supporting and helping me with infinite kindness and invaluable research advice. I would like to express my sincere gratitude to Prof. Elizabeth Frood and Prof. Richard B. Parkinson, who through their teachings and support have been an example of academic and human integrity and virtue. I thank them and Dr. Andreas Winkler for patiently correcting my work and allowing me to constantly improve through their feedback and motivation. I would also like to thank the Academy of San Luca, the Archivio Storico Diocesano of Civita Castellana, and the Archivio Capitolino di Roma for allowing me to consult the documents concerning Bracci and the members of his family. Last but not least, I am forever thankful to my family Roberto Bencini, Marina Carcea and Gemma Bencini, and to my friends Hwei Ru BenciniOng and Arianna Manzini for their continuous encouragement and unconditional support in all aspects of life. This research would not have been possible without them. Gaia Thank you. © © Gaia Bencini 2 Table of Contents Introduction .............................................................................................................................. 5 1. The manuscript and its author .......................................................................................... 11 1.1. Biographical note ................................................................................................... 11 1.2. Description of the manuscript ................................................................................ 15 1.2.1. First and secondary binding .................................................................... 18 1.2.2. Watermarks ............................................................................................. 20 1.3. Bracci’s intentions: the layout of the manuscript and its planned structure .......... 22 1.3.1. Quinternions ............................................................................................ 24 1.3.2. Numbering .............................................................................................. 26 1.3.3. A tendency towards coherence ............................................................... 28 1.3.3. Corrections and revisions ........................................................................ 31 1.4. The display of heterogeneity .................................................................................. 34 1.4.1. Different handwritings ............................................................................Bencini 34 1.4.2. Prints ....................................................................................................... 38 1.5. Secondary history ..................................................................................................Gaia 48 2. The sources and the context© ............................................................................................... 56 2.1. The classics ............................................................................................................ 56 2.2. Late antiquity ......................................................................................................... 57 2.3. The Renaissance and the Baroque ......................................................................... 60 2.4. The Arab Scholars ................................................................................................. 64 2.5. Athanasius Kircher ................................................................................................ 66 2.6. Egypt in Rome ....................................................................................................... 71 3. The hieroglyphic sign list ................................................................................................... 73 3.1. Description of the sign list ..................................................................................... 73 3.2. Bracci’s originality and the Bracci-Kircher correspondence ................................. 81 3.3. Revisions and references in the sign list ................................................................ 92 © Gaia Bencini 3 3.4. Bracci’s originality ................................................................................................ 96 4. Beyond the sign list ............................................................................................................. 99 4.1. Kircher’s influence throughout the manuscript ..................................................... 99 4.2. Apuleius ............................................................................................................... 116 Conclusions ............................................................................................................................ 118 Bibliography .......................................................................................................................... 123 Appendix I ............................................................................................................................. 128 Appendix II ........................................................................................................................... 162 Appendix III .......................................................................................................................... 167 Bencini Gaia © © Gaia Bencini 4 Introduction This MPhil thesis is a preliminary analysis of a recently acquired (2012) unpublished manuscript on the interpretation of hieroglyphs by the Roman artist and sculptor Pietro Bracci (1700–1773), posthumously entitled I Geroglifici e Obelischi Egizii. The volume, which is now housed in the Griffith Institute Archive at the University of Oxford, is a composite assemblage of 175 folios, numbered progressively, written in Italian language. The manuscript opens with an initial sign list (folios 1–49) explaining the meanings of 177 hieroglyphs, followed by a second section on the use of such signs (folios 78–123), with examples of obelisk interpretations. A third section (folios 124–152) is devoted to more general matters, such as the cult of Isis in relation to the eleventh book of the Metamorphoses of Apuleius, the ancient Egyptian embalming process and the structure of tombs. My work focuses mainly on the first section of the manuscript (folios 1–49; see chapter 3). Although some of the signs from this section can be identified as existing hieroglyphs, most of them appear to be images developed by the previous symbolical tradition of interpretation, drawing on works such as the Obeliscus Pamphilius (1650) and the Oedipus Aegyptiacus (1652–1654) by Athanasius Kircher. ThroughBencini adopting a comparative approach between Kircher’s works and Bracci’s manuscript, it is possible to assess Bracci’s own methods of translation and interpretation, and his originality. Therefore, I have provided a transcription of the first section of the manuscript togetherGaia with a list of correspondences outlining the parallels between Kircher’s and Bracci’s works (see appendixes I and III). © Furthermore, the material history of the manuscript is established with the aim of understanding how it came into possession of the Griffith Institute Archive. This has been possible through both information external to the manuscript, such as mentions of it in 18th century literary journals and auction catalogues, and through internal references, such as the information present within a note preceding the main text. This note, written in a different hand than the rest of the manuscript, sheds light on the ownership of the manuscript subsequent to Bracci’s death (see section 1.2.). The manuscript constitutes a significant witness to the 18th century deciphering fervour that developed within the context of the Roman papal court and its artistic commissions. Yet, since its existence was not known, it has remained unexplored within the scholarship. I have therefore contextualised it by researching the concept and agency of ancient Egypt within the Italian 18th © Gaia Bencini 5 century literary, philosophical, and figurative tradition. Giving an account of previous interpreters has allowed me to better understand Bracci’s role in this tradition contributing to our knowledge of the reception of ancient Egypt throughout Western modern history, as well as that of the mechanisms underlying the pre-Champollion attempts to the decipherment of hieroglyphs. Background to research Confrontation with ancient Egypt is a significant aspect of Italian and European cultural history. The material presence of ancient Egyptian monuments, such as obelisks, in the Roman architectural landscape, as well as the repeated characterisations of Egypt as venerable land of true wisdom by the classical authors, aroused fascination and wonder for centuries, and provoked interest in the hieroglyphic script from late antiquity to the modern era. With their original
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