From Scroll to Codex: New Technology and New Opportunities Anna O
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Some Observations on the Nature of Papyrus Bonding
]. Ethnobiol. 11(2):193-202 Winter 1991 SOME OBSERVATIONS ON THE NATURE OF PAPYRUS BONDING PETER E. SCORA Moreno Valley, CA 92360 and RAINER W. SCORA Department of Botany and Plant Sciences University of California Riverside, CA 92521 ABSTRACT.-Papyrus (Cyperus papyrus, Cyperaceae) was a multi-use plant in ancient Egypt. Its main use, however, was for the production of laminated leaves which served as writing material in the Mediterranean world for almost 5000 years. Being a royal monopoly, the manufacturing process was kept secret. PI~us Secundus, who first described this process, is unclear as to the adhesive forces bonding the individual papyrus strips together. Various authors of the past century advanced their own interpretation on bonding. The present authors believe that the natural juices of the papyrus strip are sufficient to bond the individual strips into a sheet, and that any additional paste used was for the sole purpose of pasting the individual dried papyrus sheets into a scroll. RESUMEN.-EI papiro (Cyperus papyrus, Cyperaceae) fue una planta de uso multiple en el antiguo Egipto. Su uso principal era la produccion de hojas lami nadas que sirvieron como material de escritura en el mundo meditarraneo durante casi 5000 anos. Siendo un monopolio real, el proceso de manufactura se mantema en secreto. Plinius Secundus, quien describio este proceso por primera vez, no deja claro que fuerzas adhesivas mantenlan unidas las tiras individuales de papiro. Diversos autores del siglo pasado propusieron sus propias interpretaciones respecto a la adhesion. Consideramos que los jugos naturales de las tiras de papiro son suficientes para adherir las tiras individuales y formar una hoja, y que cual quier pegamento adicional se usa unicamente para unir las hojas secas individuales para formar un rollo. -
Book Reviews
BOOK REVIEWS THE JEWS IN THE GREEK AGE. By Elias J. Bickerman. Cambridge, Mass.: Harvard University, 1988. Pp. xiii + 338. $30. The late Professor Bickerman (1897-1981) was recognized as a leading authority not only in the study of Hellenism but also in the particular area of Hellenistic Judaism. His most famous books were Der Gott der Makkabàer (1937; English, 1979) and Institutions des Séleucides (1938). His technical articles have been gathered in the three-volume collection Studies in Jewish and Christian History (1976, 1980, 1986). He was widely admired for his mastery of the primary sources pertaining to the Hellenistic era and for his breadth of learning. He was indeed a scholar's scholar. In his latter years he served as professor of ancient history at Columbia University in New York and research fellow at Jewish Theo logical Seminary of America. Although B. had completed the first draft of this survey of pre- Maccabean Judaism in 1963, he was revising his manuscript until shortly before his death. His manuscript has been prepared for publication by Shari Friedman, a member of the Jewish Theological Seminary research staff. Albert Baumgarten, professor of Jewish history at Bar-Ilan Uni versity, assisted with the final preparation and compiled a 15-page general bibliography. The theme of the volume is stability and change in Jewish society during the first centuries of the Greek age, from the fourth century B.C. until approximately 175 B.C. The first part ("before and after Alex ander") surveys the evidence for the early encounters between Jews and Greeks in the land of Israel and the Diaspora. -
How We Got Our Bible Part Three: the Text of the New Testament
How We Got Our Bible Part Three: The Text of the New Testament I. The Nature of New Testament Manuscripts A. Early biblical manuscripts were written on papyrus. B. By the 3d century parchment (leather) became the standard paper for biblical manuscripts. C. Writing was done with pen and ink. The ink was usually brown or black. D. Initially New Testament books were written on Scrolls. E. Around the beginning of the 2d century the codex (modern book) became the main book format. II. The Styles of Writing in New Testament Manuscripts A. Cursive (minuscule) Handwriting B. All-Capitals (uncial) C. Because of the cost of parchment many documents were scraped and washed to be reused for other literature. These are called Palimpsests. They are biblical manuscripts that are written on reused parchment. Of the 263 uncial manuscripts of the New Testament 63 are palimpsests. D. In the early centuries of Christianity the gospels were divided into regular readings for services. Scribes marked the beginning and end of these readings so the lector (reader) knew where to begin and end. These manuscripts of the gospels are called lectionaries (Lindisfarne Gospels). E. The advent of monasteries created a class of monks who became scribes. They worked standing at a writing desk in a room called a scriptorium. This was difficult and tedious work. Some monks even added little sentences at the end of manuscripts such as, “The end of the book; thanks be to God.” F. The monks also added footnotes called colophons which include the name of the scribe and sometimes the date and place of writing. -
How Is a Torah Made?
How is a Torah made? By Rabbi Amy R. Scheineman The scribe prepares parchment sheets While printed editions of the Torah abound, in both Hebrew and English translation, and with many different commentaries, when the Torah is read in the synagogue on Shabbat and holidays, it is read from a hand-written scroll, called a Sefer Torah, in keeping with age-old tradition. It takes several months, and often as a long as a year to complete one Sefer Torah. The Sefer Torah is written by a scribe, special trained for this holy task, on sheets of parchment. The parchment must derive from a kosher animal, usually a cow, and is meticulously prepared by the scribe, who first soaks the skin in lime water to remove hairs, and then stretches the skin over a wooden frame to dry. The scribe scrapes the skin while it is stretched over the wooden frame to remove more hair and smooths the surface of the skin in preparation for writing on it with the use of a sanding machine. When the skin is dry, the scribe cuts it into a rectangle. The scribe must prepare many such skins because a Sefer Torah usually contains 248 columns, and one rectangle of parchment yields space for three or four columns. Thus a Sefer Torah may require at more than 80 skins in all. When the parchment sheets are ready, the scribe marks out lines and columns using a stylus, which makes a mark in the skin that has no color, much as if you ran your fingernail across a sheet of paper. -
The Making of the Book of Kells: Two Masters and Two Campaigns
The making of the Book of Kells: two Masters and two Campaigns Vol. I - Text and Illustrations Donncha MacGabhann PhD Thesis - 2015 Institute of English Studies, School of Advanced Study, University of London 1 Declaration: I hereby declare that this thesis has not been submitted as an exercise for a degree at any other university, and that it is entirely my own work. _________________________________ Donncha MacGabhann 2 Abstract This thesis investigates the number of individuals involved in the making of the Book of Kells. It demonstrates that only two individuals, identified as the Scribe-Artist and the Master-Artist, were involved in its creation. It also demonstrates that the script is the work of a single individual - the Scribe-Artist. More specific questions are answered regarding the working relationships between the book’s creators and the sequence of production. This thesis also demonstrates that the manuscript was created over two separate campaigns of work. The comprehensive nature of this study focuses on all aspects of the manuscript including, script, initials, display-lettering, decoration and illumination. The first part of chapter one outlines the main questions addressed in this thesis. This is followed by a summary of the main conclusions and ends with a summary of the chapter- structure. The second part of chapter one presents a literature review and the final section outlines the methodologies used in the research. Chapter two is devoted to the script and illumination of the canon tables. The resolution of a number of problematic issues within this series of tables in Kells is essential to an understanding of the creation of the manuscript and the roles played by the individuals involved. -
The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts
THE NATURE OF HELLENISTIC DOMESTIC SCULPTURE IN ITS CULTURAL AND SPATIAL CONTEXTS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Craig I. Hardiman, B.Comm., B.A., M.A. ***** The Ohio State University 2005 Dissertation Committee: Approved by Dr. Mark D. Fullerton, Advisor Dr. Timothy J. McNiven _______________________________ Advisor Dr. Stephen V. Tracy Graduate Program in the History of Art Copyright by Craig I. Hardiman 2005 ABSTRACT This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE – 31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meaning(s) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia’s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. -
Printing and the Renaissance World University Libraries--University of South Carolina
University of South Carolina Scholar Commons Irvin Department of Rare Books & Special Rare Books & Special Collections Publications Collections 5-2003 Printing and the Renaissance World University Libraries--University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/rbsc_pubs Part of the Library and Information Science Commons Recommended Citation University of South Carolina, "University of South Carolina Libraries - Printing and the Renaissance World, May 2003". http://scholarcommons.sc.edu/rbsc_pubs/38/ This Catalog is brought to you by the Irvin Department of Rare Books & Special Collections at Scholar Commons. It has been accepted for inclusion in Rare Books & Special Collections Publications by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PRINTING and the RENAISSANCE WORLD all exhibition of lJJanuscnpts and earlY books from Thomas Cooper Library J. C. ANDERSON LIBRARY University of South Carolina at Sumter * Mqy 18-JUilC 19, 2003 This exhibition illustrates the development and impact of printing, from Johann Gutenberg's invention of moveable type in Germany in the mid-fifteenth-centUlY, through its effects for the Renaissance in classical learning, for the Refonnation in religion, for science and geography during the age of exploration, and (more briefly) for illustration, science, and literature. Among the items on display are an iIluminated medieval manuscript codex or book from c. 1420; an early printed book from 1483, with hand-colored initials, and its original wooden binding; a wood-engraving by the Gennan artist Albrecht Durer; a leaf from the 1611 first edition of the King James Bible; and the 1625 English edition of Leo Africanus's account of the African city of Tirnbuktu. -
Fabric Book Cover Template
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A Medieval Scriptorium Sancta Maria Magdalena De
Legal A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien EBook For Free And You Can Read Online At Online Ebook Library A MEDIEVAL SCRIPTORIUM SANCTA MARIA MAGDALENA DE FRANKENDAL WOLFENBUTTELER MITTELALTER STUDIEN PDF A MEDIEVAL SCRIPTORIUM SANCTA MARIA MAGDALENA DE FRANKENDAL WOLFENBUTTELER MITTELALTER STUDIEN PDF DATABASE ID GQZO - Are you looking for ebook A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien Pdf database id gqzo in pdf? You will be glad to know that right now A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien Pdf database id gqzo in pdf is available on our online library. With our online resources, you can find A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien Pdf in or just about any type of ebooks, for any type of product. Best of all, they are entirely free to find, use and download, so there is no cost or stress at all. A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien Pdf database id gqzo in pdf may not make exciting reading, but A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien Pdf database id gqzo in is packed with valuable instructions, information and warnings. We also have many ebooks and user guide is also related with A Medieval Scriptorium Sancta Maria Magdalena De Frankendal Wolfenbutteler Mittelalter Studien Pdf database id gqzo in pdf, include : Will The Future Workplace Still Need You An Essential Career Survival Guide For The Imminent Future English Edition , Wild Highland Magic The Celtic Legends Series Book 3 , Advances In Chemical Physics Jortner Joshua Bixon M , Grand Oeuvre Grande Luce Libro Emile Grillot De Givry Huai Nan Tze , Western Snow Plow Wiring Instructions and many other ebooks. -
CFP the Print in the Codex Ca. 1500 to 1900
H-HistBibl CFP The Print in the Codex ca. 1500 to 1900 Discussion published by Jeanne-Marie Musto on Thursday, April 16, 2020 Call for Papers Bibliographical Society of America sponsored session College Art Association Annual Conference, New York, 10-13 February 2021: The Print in the Codex ca. 1500 to 1900 This session will consider bound volumes created or transformed through the incorporation of independently printed images. Inspired by recent scholarship that addresses the popularity of modifying, enhancing, or creating books in this manner, this session will focus on the production and reception of such books between the widespread adoption of the printing press in Europe, circa 1500, and the nineteenth-century rise of public museums and libraries, with their increasingly standardized and discrete organizational systems. Papers may address any books into which independently printed images have been incorporated, whether these books include text and whether they are analyzed as unique items or as products of broader creative or curatorial practices. This session seeks papers that consider both the material and the conceptual aspects of these complex volumes. Themes may include the agendas of specific creators; the codex as a structure and ways in which prints were designed for, or adapted to it; or how these works inform histories of reading, book and print production, or book and print collection. Papers may also address how these books relate to those of earlier centuries. Themes addressing subsequent reception are also welcome. Such themes include interpretive and practical challenges that the books present, and opportunities they offer, to the evolving institutional and media landscapes of the twenty-first century. -
Ancient Rome
HISTORY AND GEOGRAPHY Ancient Julius Caesar Rome Reader Caesar Augustus The Second Punic War Cleopatra THIS BOOK IS THE PROPERTY OF: STATE Book No. PROVINCE Enter information COUNTY in spaces to the left as PARISH instructed. SCHOOL DISTRICT OTHER CONDITION Year ISSUED TO Used ISSUED RETURNED PUPILS to whom this textbook is issued must not write on any page or mark any part of it in any way, consumable textbooks excepted. 1. Teachers should see that the pupil’s name is clearly written in ink in the spaces above in every book issued. 2. The following terms should be used in recording the condition of the book: New; Good; Fair; Poor; Bad. Ancient Rome Reader Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. This does not in any way imply that the Core Knowledge Foundation endorses this work. Noncommercial—You may not use this work for commercial purposes. Share Alike—If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one. With the understanding that: For any reuse or distribution, you must make clear to others the license terms of this work. -
Typography, Illustration and Narration in Three Novels by Alasdair Gray
Title Page. Typography, Illustration and Narration in Three Novels by Alasdair Gray: Lanark, 1982, Janine and Poor Things. Craig Linwood Bachelor of Arts (Honours) School of Humanities Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy February 2017 Abstract. The impetus of the thesis emerged through an academic interest in how experimental uses of typography and illustration functioned as a method of narration within literature. This was followed by investigations into the use of typography and illustration yielded that while there is a growing field of literary study examining non-linguistic elements within narratives, there are few studies into typography and illustration and how an author utilises and develops them as a method of narration. In light of this, this thesis examines attempts to expand upon the act of narration through the use of typography and illustration in both experimental and common forms. This is focused through Scottish artist Alasdair Gray and three of his novels: Lanark: A Life in Four Books, 1982, Janine and Poor Things. While Gray’s novels are contemporary his use of typography and illustration engages in wider print cultures that facilitated experiment into literature involving the manipulation of typography, illustration and the traditions of narrative. Experimentation in literature from 1650 to 1990, be it through illustration, typography or the composition of narrative, often emerged when printing practice and its product were no longer seen as efficient at communicating to modernising audiences. This act often coincided with larger changes within print cultures that affected laws, politics, the means of distribution, views of design i and methods of distribution.