Scribes of Space posits that the conception of space—the everyday physical areas we perceive and through which we move—underwent critical transformations between the thirteenth and fifteenth centuries. Matthew Boyd Goldie examines how natural philosophers, theologians, poets, and other thinkers in late medieval Britain altered the ideas about geographical space they inherited from the ancient world. In tracing the causes and nature of these developments, and how geographical space was consequently understood, Goldie focuses on the intersection of medieval science, theology, and literature, deftly bringing a wide range of writings—scientific works by Nicole Oresme, Jean Buridan, the Merton School of Oxford Calculators, and Thomas Bradwardine; spiritual, poetic, and travel writings by John Lydgate, Robert Henryson, Margery Kempe, the Mandeville author, and Geoffrey Chaucer—into conversation. This pairing of physics and literature uncovers how the understanding of spatial boundaries, locality, elevation, motion, and proximity shifted across time, signaling the emergence of a new spatial imagination during this era.

This new book by Malcolm Parkes makes a fundamental contribution to the history of handwriting. Handwriting is a versatile medium that has always allowed individual scribes the opportunity for self-expression, despite the limitations of the pen and the finite number of possible movements.The purpose of this study is to focus on the writing of scribes from late antiquity to the beginning of the sixteenth century, and to identify those features which are a scribe's personal contribution to the techniques and art of handwriting. The book opens with three chapters surveying the various environments in which scribes worked in the medieval West. The following five, based on the author's Lyell Lectures at the University of Oxford, then examine different aspects of the subject, starting with the basic processes of handwriting and copying. Next come discussions of developments in rapid handwriting, with its consequent influence on new alphabets; on more formal 'set hands'; and on the adaptation of movements of the pen to produce elements of style corresponding to changes in the prevailing sense of decorum. The final chapter looks at the significance of some customized images produced by handwriting on the page. The text is illustrated with 69 plates, and accompanied by a glossary of the technical terms applied to handwriting, which in itself makes a significant contribution to the subject.

Close analysis of formal and conventional features of the bookrolls not only provides detailed information on the bookroll industry- but also, in turn, suggests some intriguing questions and provisional answers about the ways in which the use and function of the bookroll among ancient readers may differ from modern or medieval practice.

Daniel Wakelin introduces and reinterprets the misunderstood and overlooked craft practices, cultural conventions and literary attitudes involved in making some of the most important manuscripts in late medieval English literature. In doing so he overturns how we view the role of scribes, showing how they ignored or concealed irregular and damaged parchment; ruled pages from habit and convention more than necessity; decorated the division of the text into pages or worried that it would harm reading; abandoned annotations to poetry, focusing on the poem itself; and copied English poems meticulously, in reverence for an abstract idea of the text. Scribes' interest in immaterial ideas and texts suggests their subtle thinking as craftspeople, in ways that contrast and extend current interpretations of late medieval literary culture, 'material texts' and the power of materials. For students, researchers and librarians, this book offers revelatory perspectives on the activities of late medieval scribes.

In all the history of hand-written books, one of the most distinctive and handsome scripts is that of the abbey of Monte Cassino. This study examines for the first time in detail the development of this script during the Abbey's greatest period of wealth and influence, under Desiderius (abbot 1058-1087) and his successor Oderisius (abbot 1087-1105). The characteristic Cassinese hand was established long before, but in this period it was transformed into what is today considered its classic form. The present study rests on a fresh examination of many details of the Beneventan (South Italian) script in aspects incompletely studied before. It aims to provide a new history of Monte Cassino as a writing centre and to offer a context for many unique or valuable texts manuscripts that it processed.

James Grier documents the musical activities of Adémar de Chabannes, eleventh-century monk, historian, homilist and tireless polemicist for the apostolic status of Saint Martial, patron saint of the abbey that bore his name in Limoges. Adémar left behind some 451 folios of music with notation in his autograph hand, a musical resource without equal before the seventeenth century. He introduced, at strategic moments, pieces familiar from the standard liturgy for an apostle and items of his own composition. These reveal Adémar to be a supremely able designer of liturgies and a highly original composer. This study analyses his accomplishments as a musical scribe, compiler of liturgies, editor of existing musical works and composer; it also offers a speculative consideration of his abilities as a singer; and finally, it places Adémar's musical activities in the context of liturgical, musical and political developments at the abbey of Saint Martial in Limoges.

A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre. The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right. This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts. The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.

This volume is a concentrated examination of the varied roles of scribes and scribal practices in ancient Israel and Judah, shedding light on the social world of the Hebrew Bible. Divided into discussion of three key aspects, the book begins by assessing praxis and materiality, looking at the tools and materials used by scribes, where they came from and how they worked in specific contexts. The contributors then move to observe the power and status of scribal cultures, and how scribes functioned within their broader social world. Finally, the volume offers perspectives that examine ideological issues at play in both antiquity and the modern context(s) of biblical scholarship. Taken together, these essays demonstrate that no text is produced in a void, and no writer functions without a network of resources.

This book aims to provide the critical tools to help scholars in their use of Samaritan manuscripts. The basic codicological tools is a series of complementary data-bases compiled from typological studies of the physical properties of manuscripts. Each typology is in effect a diachronic profile created by painstaking comparison and analysis of the physical properties of manuscripts of known provenance and/or date. Using these typologies or diachronic profiles it is possible to evaluate the chronology of the physical characteristics of any manuscript - the quire or gathering structure, ink, ruling, spacing of the text on the folio, sewing of the sections ... Naturally, the more information available about the physical properties of any manuscript the better the chance of making correlations between the typologies of different properties. The basic rule in palaeography and codicology is that the researcher works on an inductive basis from as wide a sample as possible of dated manuscripts. It is hoped that in the studies in this volume, evidence has been provided which will serve as a guide both to the appearance and the nature of Samaritan manuscripts and to the evaluative process that one would employ in examining them for codicological purposes. The reader should be able to apply the criteria provided here to the evaluation of whatever data can be retrieved from any undated Samaritan manuscripts with which he is confronted. Alan D. Crown in the preface

In this book, Dr. Robert Edwards brings a fresh, mathematical perspective to the Voynich manuscript and sets out a strategy whereby the interested reader could extract meaning from the seemingly impenetrable symbols . . . if meaning is there to be found. The Voynich manuscript has been described as the most mysterious document in the world. In 1637, a Bohemian scholar sent a mysterious manuscript to the celebrated professor Athanasius Kircher in Rome. Kircher promised to decipher it when the mood took him. He never did. Later, antiquarian bookseller Wilfrid Voynich claimed that he had discovered it in 1912 in a castle in Europe. • Contains hundreds of bizarre illustrations that seem to represent plants, stars, animals, zodiac signs, strange receptacles, and naked women in pools and streams of green water. • Throughout its over 200 pages are strings of glyphs or symbols that look like words; but the symbols do not belong to any known living or extinct languages. • No one knows what these symbols mean—or even whether they mean anything, though hundreds of scholars have tried to decipher them for 500 years. • Today, all that we know for sure is that the parchment probably dates from the early 15th century.