The Bible As Architectural Text
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KyleSome years ago I received, Dugdale as a wedding present, a rather large and corre- spondingly heavy “study Bible.” That there should exist such a well-defined category is already a matter of some interest—implying, as it might appear, that other biblical formats are less suitable for study. But the precise identity of this distinctly pious gift was also telling: after all, the Bible is one of the few texts currently in circulation for which it remains Drawingtrue, even and perhaps especially today, that the veryBelow choice of transla- the Line: tion can go some way toward informing an assessment of the attitudes of the reader, or, in this instance, of the giver. There are not many texts—certainly not architectural texts—for which Thethis is obviously theBible case. Although one might be tempted as to draw Architectural Text conclusions from an individual’s preference for the Wall Street Journal over the New York Times, it is less likely that one would feel equipped to judge an architect’s fundamental convictions based solely on a pref- erence for reading Vitruvius in Ingrid Rowland’s or in Joseph Gwilt’s translation. And even the most violent disagreements over Etchells v. Goodman as legitimate translators of Le Corbusier are likely to remain largely academic in scope. 16 This particular Bible, however, was an English Standard Version Study Bible, published in 2008. Those familiar with such objects will doubtless be tempted to read theological persuasions into the very title, not to men- tion the ambitions of the translation. And this is not even to venture into the fraught realm of exegesis. Study Bibles are principally known, after all, for supplementing the biblical text with interpretative content, which plunges the reader into a world of closely argued theological debate. As the ESV Study Bible’s managing editor puts it, with some doctrinal circumspection, “The most important feature in a study Bible is the hor- izontal line that divides the biblical text from the biblical interpretation. 1 * I owe a debt of gratitude to the anonymous reviewers of my manuscript, and also to Bruce Gordon, Titus Street Professor of Ecclesiastical History at Yale Divinity School, for timely critique and encouragement. The responsibility for surviving errors and infelicities is mine alone. Thresholds 46 Scatter! Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/thld_a_00026 by guest on 28 September 2021 Everything above the line is inerrant and infallible. Everything below the Kyle Dugdale 1 line is filled with good intentions but may not be true.” The typical page in the ESV Study Bible contains, in fact, more than one dividing line (Figure 1). For in terms of its sheer capacity for the collection and distribution of information, it is an exceptionally sophis- Drawing Below theticated document.Line: The translated nine-point text is not only paginated, systematized, and organized into chapter, section, paragraph, and verse, as we have come to expect from the biblical codex; it is also typeset to reflect such nuances as distinctions in literary genre, patterns in literary structure, or quotations of earlier texts. It is then heavily annotated with The Bible as Architecturalsupplemental information in multiple surrounding Textlayers, distinguished by typeface, format, and layout. This supplemental information constitutes a massive accumulation of scholarship across periods and disciplines. As the publisher notes, it rep- resents the writing of 95 distinct contributors; but it clearly draws on the work of many thousands more. The word count alone is prodigious, and carefully enumerated: “in addition to the 757,000 words of the ESV Bible 17 itself, the notes and resources of the ESV Study Bible comprise an addi- tional 1.1 million words.”2 Those 1.1 million words include footnotes with references to original vocabularies, citations of manuscript variants, and alternative translations; sidebars with cross-references to related passages; and, especially, double-column seven-point interpretative notes tied explicitly to specific words in the principal text and themselves based on a long exegetical tradition. These are complemented in turn by discursive introductions, summaries, chronologies, diagrams, topogra- phies, concordance supplements, and appendices covering every con- ceivable subject from the most monumental (“A Survey of the History of Salvation”) to the most precise (“The Hebrew Calendar Compared to the Gregorian Calendar”). For the architect, such a document is curiously familiar. For the book is structured precisely in the manner of a good set of working 1 Justin Taylor, “Study Bibles as Theological Tool Kits,” Tabletalk Magazine, September 1, 2015, https://tabletalkmagazine.com/article/2015/09/ study-bibles-theological-tool-kits/. 2 Publisher’s description, ESV Study Bible, accessed 14 May, 2008, www.esvstudybible.org. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/thld_a_00026 by guest on 28 September 2021 Kyle Dugdale Drawing Below the Line: The Bible as Architectural Text Figure 1: The Word, surrounded by words: a representative spread from the ESV Study Bible, covering twenty-six verses from the first chapter of the Book of Genesis. Taken from the ESV® Study Bible (The Holy Bible, English Standard Version®), copyright ©2008 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights 18 reserved. drawings—where each sheet, each drawing, is composed, categorized, dated, revised, annotated, and cross-referenced not only to other sheets that provide broader context, disciplinary overlays, or more specific details at progressively larger scales, but also to a set of written spec- ifications. That, in turn, invokes a fully formed world of established vocabularies, standards, and contractual obligations, with its own set of commitments to inerrancy, infallibility, and the precedence of one form of information over another. Architectural image is thus tied back to text, the drawing to more easily litigated words. On the face of it, the system maintains an equivalency between different modes of communication; but here too, in reality, the text takes precedence, as suggested by the familiar concession of the legally circumspect “model language” offered in Article 1 of the AIA’s Document A503–2007, Guide for Supplementary Conditions. In theory the document rejects the superiority of one form of information over another: Thresholds 46 Scatter! Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/thld_a_00026 by guest on 28 September 2021 § 1.2.1 The AIA General Conditions do not establish a system of precedence among the Contract Documents, but provide that all documents are complementary. In the event of inconsistencies among the Contract Documents, the Architect is to interpret them accordingly. Establishing a fixed order of priority is not recommended because no one document constitutes the best authority on all issues that may arise. But here too, in practice, distinctions may be made: § 1.2.1.1 In the event of conflicts or discrepancies among the Contract Documents, interpretations will be based on the following priorities: There follows a list of these priorities, among which drawings are con- spicuously close to the bottom, the image ceding to the authority of the text (Figure 2).3 19 Figure 2: Priority of the word: an image of an excerpt from AIA Document A503™–2007 (formerly A511™–1999), Guide for Supplementary Conditions. Photograph by author. The acknowledged history of revision and of copyright is itself a commentary on such a document’s claims to authority and inerrancy. Copyright © 1973, 1977, 1980, 1987, 1999 and 2007 by The American Institute of Architects. 3 American Institute of Architects, AIA Document A503™–2007, www.aiacontracts.org/ contract-documents/24281-guide-for-supplementary-conditions. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/thld_a_00026 by guest on 28 September 2021 Kyle Dugdale Drawing Below the Line: The Bible as Architectural Text Figure 3: Biblical architecture: a fully rendered and annotated cutaway perspective, with associated key plan, in the pages of the ESV Study Bible. Taken from the ESV® Study Bible (The Holy Bible, English Standard Version®), copyright ©2008 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved. 20 As in architectural contracts, so in biblical matters the authority of the text is critical. By the same token, the authority of drawings may be deemed marginal. Indeed, the relationship between word and image has been and remains a fraught issue—part of a trajectory of prohibition that long predates the composition of the Greek New Testament. So it is not to be taken for granted that there should be illustrations pres- ent in any Bible. The transmission of the written word does not always welcome the addition of graven images, whether the context is biblical or architectural: this is equally true, as Mario Carpo has argued, for the ten books of Vitruvius, the “bible of the architects.”4 And yet—for all its closely-printed words and its explicit commitment to the Word in black 4 For a parallel exegesis see Mario Carpo, “Vitruvius, Text and Image,” in Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory, trans. Sarah Benson (Cambridge, MA: MIT Press, 2001), 16–22, concluding that “for the most part,” both for ideological and for technical reasons, “Vitruvius, like Alberti fifteen centuries later, refused to illustrate his treatise” (18). For Vitruvius as Bible, “object of an almost theological canonization,” see also 102–103. Thresholds 46 Scatter! Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/thld_a_00026 by guest on 28 September 2021 and white, the ESV Study Bible also contains “40 all-new illustrations,” printed in full color.5 Those illustrations are carefully chosen and, it must be said, commissioned and produced with some care. That the Bible should be illustrated is already worthy of note.