Alisa Beer (PhD, History) was fortunate enough to hold an internship with Consuelo Dutschke at the Columbia University Rare Books and Manuscripts Library in the Spring semester of 2017, through a joint program with the Fordham University Center for Medieval Studies. [Read on for more about Alisa’s internship and the workshop she helped to organize] Continue reading
This past 27 April, Dr. Frank Coulson of Ohio State University gave a lecture on a manuscript he discovered in the Walsh Library. Coulson believes that Walsh Library MS Item 14, a 15th century manuscript fragment listed by Digital Scriptorium as a copy of Ovid’s Metamorphoses with marginal commentary, is actually a 14th century copy of the Metamorphoses with a marginal translation written by Giovanni de Virgilio. Giovanni de Virgilio was a 14th century Paduan scholar who was educated in Bologna and who was commissioned by the Studium of Bologna to lecture on Lucan, Statius, Ovid, and Virgil (for whom he had a particular love, as one can surmise from his chosen name.) Only his Ovid lectures survive, along with a few of his other translations and commentaries. We’ve some insight into Giovanni’s personal life, including his friendship and extended correspondence with Dante Alighieri. Indeed, Giovanni even wrote an epitaph for Dante’s tomb. [Read on for more on Professor Coulson’s talk] Continue reading
On April 7th, Michael Weldon (MA, Medieval Studies) and Kevin Vogelaar (MA, Medieval Studies) were inducted to the Jesuit Honors Society Alpha Sigma Nu. The organization, which emphasizes scholarship, loyalty, and service, selected Michael and Kevin for their exemplary commitment to the tenets of Jesuit learning.
[Read on for profiles of our two Alpha Sigma Nu inductees]
David Pedersen is a PhD candidate in English and Medieval Studies at Fordham University. His dissertation, “Anxiously Pursuing Peace: Defining and Defending Christian Faith in Texts of Old English Reflective Wisdom,” explores the unique questions, preoccupations, and concerns that Anglo-Saxons brought to Christian faith when they engaged with Christianity in their own vernacular. David argues that these questions had a profound effect on the conception of Christianity that took root and flourished in Anglo-Saxon England, and that we must understand this effect in order to contextualize properly our view of Anglo-Saxon art and literature. David is scheduled to defend his dissertation in April of 2017.
David joined Fordham’s English PhD program in the fall of 2011 after completing an MA in medieval English literature at the University of York. Recognizing that his research and teaching interests are largely interdisciplinary, David quickly enrolled in the Medieval Studies Doctoral Certificate program. David has been consistently involved in the Centre for Medieval Studies ever since.
During his first two years in the program, David participated in Old English, Old Norse, and Ecclesiastical Latin reading groups while also completing his coursework and working as a tutor in the University’s writing centre and as a research assistant for Prof. Jocelyn Wogan-Browne. During his third year, he took over the Old English reading group as a co-organizer, a position he held for the next three years. In addition, David spent the 2015-2016 academic year developing teaching modules for two of the Centre’s digital initiatives: The Oxford Outremer and the French of Italy projects. For his work on these projects, David was invited to present at the Centre’s Annual Colloquium in April of 2016.
In addition to his work with the Centre, David has spent the past six years building his scholarly and pedagogical profile. He has been the instructed numerous courses at Fordham that range from introductory writing to a senior level capstone, and he has participated in training programs in the teaching of writing and in the teaching of the history of English. He has presented at numerous regional, national, and international conferences, most recently at the 42nd Annual Conference on Manuscript Studies at St. Louis University in October of 2016. David’s first article, “Wyrd þe Warnung…or God: The Question of Absolute Sovereignty in Solomon and Saturn II” was published last month in Studies in Philology, and his article “The Wife of Bath’s Deaf Ear and the Flawed Exegesis of St. Jerome” is currently under review at PMLA.
David has been given a teaching position at the College of the Ozarks in Missouri. While he and his family are sad to be preparing to leave New York City, which has been David and his wife, Katrina’s, home for more than a decade, they are also excited by the prospect of having a yard and maybe a car. David plans to turn his dissertation into a book and then to begin work on a second book-length project that explores the various ways that medieval histories employ the ancient Israelites as a trope that is ultimately used to legitimize a wide range of racial and nationalistic ideals.
We would like to thank David for his extraordinary contributions to the mission and vitality of the Centre and wish him well as he steps forth to make his mark in the field.
This past 5th of November, Dr. Hafner brought both her Manuscript Culture class and a collection of brave volunteers to Pergamena, one of the few tanneries left in the United States and one of the precious fewer tanneries in the world that also produces parchment. Officially listed as Richard E. Meyer and Sons, its current name derives from the Latin term for Pergamum, which first produced parchment in large quantities for writing purposes after Alexandria imposed a ban on papyrus exports to the city in response to Pergamum’s own attempt to build a great library to rival Alexandria’s. Down an unassuming rural road in Montgomery leading out into the woods, a van filled with semi-comatose students and faculty who knew exactly what was in store for them pulled up to a gray barn. When the van emptied and all had disembarked, the large front door of the barn opened. The crowd of eager and nervous medievalists approached, caught their first whiff of the scent of dead and dissolving flesh through the cool morning air, and came to understand exactly what the next seven hours entailed. Some practically ran into the barn, ready to see what Jesse Meyer, the owner, had in store for them. Some entered hesitantly, not sure how long it may take for them to acclimatize to this very new and different environment, or, perhaps, not sure if they wanted to acclimatize to it. Still others entered with grim determination, accepting the onslaught on their noses as the price they would have to pay to see just how the parchment we look at and read from actually was made, driven by the need for enlightenment. Dr. Hafner, who has been to Pergamena on multiple occasions and who brought another Fordham group there just last April, looked amused at the reactions of her students.
Once inside the barn, covered with cobwebs that looked as if they had been established there since the tannery’s opening in 1865, the crowd gathered around Jesse Meyer, who delivered an introduction to not only how Pergamena itself was established, but also why they do what they do and to what end. While leather production makes up a good deal of their income, Meyer related that parchment production also retains its demand. Book conservators look to Pergamena for parchment produced in an archival-friendly and historically accurate way, while artists who like to work with parchment also come to Meyer for their own materials. It is toward this latter end that Meyer himself got into parchment production. Before the tannery was made into what we know of as Pergamena, Meyer, a sculptor by training and nature, saw hides and parchment as great materials to work with as mediums for three-dimensional art as they can be shaped in practically any way one wants, as long as the hides are prepared properly.
Adding parchment to the products already produced by the family workshop, Meyer learned of the medievalist academic community and their desire to learn all they can of parchment production and how the physicality of the book impacted readers’ understanding of its contents. Meyer reached out to them, being one of the few in America who could give them exactly what they were looking for. Seeking to come closer to the medieval process, Meyer attempted to learn as much as he could from medieval handbooks on parchment production, but ran into the issue of descriptions of the process being less than clear. In a business such as tanning or parchment making, one is only as valuable as one’s process is secret, thus written details are few and far between, either in medieval sources or modern. Trial and error were Meyer’s tutors, and he’s learned well. Meyer, now actively engaged with medievalists across the country and attending the odd conference, often takes his show on the road, showing students and professors alike the rare sight of parchment actually being made.
Beginning his description of the process with a note of warning that parchment making and tanning can be bad for the skin, hair, nails, and relationships, Meyer presented the students first with a vat in which hides are left to sit in a lime solution, the acidity of which must be constant and monitored. Meant to dissolve remaining fat, flesh, and loosen hair or fur, these vats of lime are generally referred to as “pits” for the fact that they used to be always kept in pits in the ground. In some places in the world, such a Morocco, this is still done in such pits, with the oldest operating pit tannery in the world in Marrakesh. In upstate New York, barrels serve to contain the mixture of lime and liquefying beast.
Meyer brought the crowd deeper into the barn, cluttered with vats, soaking hides, and machinery spanning the last century. It was time for the hands-on portion of the presentation. Meyer reached deep into a nearby vat and drew from it a goat hide and flung it across a round beam, sending a stream of liquid flying across the room. In an admirable display of spontaneous coordination, the group of students parted instantly to avoid every airborne droplet. These skins were meant to be worn around an animal’s body, thus laying them flat in this untreated state would make them difficult to clean. Laying them across a beam gives some semblance of their natural shape. He demonstrated first how to scrape the hair off the skin. With a single movement, Meyer scrapped-off around one-third of the goat hair, showing just how effectively the lime solution works. Then, other students tried their hands at it, donning Meyer’s apron and gloves. Then, after the hair was removed, Meyer demonstrated how to remove the remaining flesh and fat from the underside of the skin. Brandishing now a crescent-shaped metal knife coloured by use and age to an appropriate hue of reddish-brown, Meyer showed how to remove the flesh without actually damaging the hide itself. The skins of deer, sheep, goats, and cows (the most common types he works with), while certainly durable, still can be damaged during this process, with cuts made by the scrapping knife an ever-present concern. For this portion a few volunteers went forth to try their hand at wielding this time-tested blade. With a mound of flesh steadily building up around the beam’s stand and the occasional, oddly satisfying, “plop” echoing through the workshop, Meyer related that it is at this point that one can really see the quality of the hide one is working with. The end product, be it either leather or parchment, is only as high a quality as the source material, and if the animal was butchered improperly or carelessly or killed in an inefficient or amateurish way, then it will result in an inferior hide, requiring that much more work to make serviceable.
From scraping and soaking, the crowd moved on to drying and stretching. After the skins were cleaned and soaked to remove the residual lime, they were air dried. Attached to frames with clasps holding the hide flat from every possible angle, the skin would dry under tension so as to prevent it from reverting to its natural shape. Parchment, as Meyer related and demonstrated, is flat because it is dried in such a tense position, thus, when it gets wet again, that tension is released, and it curls. Attached to these frames, the skin, once dry enough, needs to be shaved down to make the surface sooth enough to write on, but coarse enough to retain ink. Using another crescent-shaped scrapping knife, he showed how he would scrape strips of skin off the hide till it met the desired smoothness. Here, too, students tried their hands at the process, meeting varying levels of success, but everyone contributing a bit to the future usability of that skin for the preservation of a message, either in writing or as art.
By the end of the day, every student was fully engrossed in the details of watching an animal skin turn into a vehicle for the preservation and transmission of human knowledge and experience. Reservations had been replaced with genuine fascination and a newfound appreciation for what it took to produce the books of hours and bibles medievalists admire and, all too often, take for granted.
The Centre would like to thank Jesse Meyer for opening his shop up to us again on an early Saturday morning and giving us the chance to experience a part of human history that we have come all too close to losing.
On October 28th, students of Dr. Hafner’s Manuscript Culture class attended a lecture at the Butler Library in Columbia University in order to hear a private seminar from Consuelo Dutschke, curator of the Medieval and Renaissance rare book collections. The Rare Book Collections seminar room stood behind a secret door which at first glance looked like a wall. The Rare Books Collection has under its control a locus of incunabulum; namely books and documents printed from early Western Europe up until January 1, 1501.
Once we were all ensconced in the lecture room, Consuelo brought to our attention approximately twenty documents and books laid out over a long wooden table. “Keep an open mind,” Consuelo said as we leaned forward to survey the documents, “or you’ll never find what’s out there.” With these words in mind, we began to participate in an interactive lecture that involved answering questions, translating passages, and experiencing the privilege of holding the documents and books themselves.
Since manuscript scholars can’t rely on colophons or script types to give us the place, date, and author necessarily, we must rely on nuances within decoration and textual format to give us some context. Consuelo highlighted and demonstrated the importance of decoration as a way of localizing each book, in some cases identifyingdown to its very city of origin. Before even opening some of the texts, Consuelo described how the original book bindings hinted at a book’s region of origin. For instance, if a book had clasps (do you recall what it was about the clasps that made them specifically Italian? I think it had to do with their being closed toward the back of the book, but I’m not sure), it was likely to have been made in Italy. With Consuelo’s tutelage, we were enlightened on the uses of decoration and the history of the manuscripts and books.
Consuelo shared with us the importance of manuscript culture history. In 1953, French Paleographers created the CIPL (Comité International de PaléographieLatine), an establishment that aspired to solve a fundamental question about manuscript culture: how do we go about studying these manuscripts? Though the CIPLlost momentum, their work was not in vain. Today, the most used book on manuscript identity is Tuscany’s version of the CIPL, which includes a method of dating the documents by means of comparison and contrast. In the United States, Columbia works alongside UC Berkley to produce the Digital Scriptorium. The strengths of a digital database include the use of vibrant color, a vast library, and the ability to correct inaccurate cataloguing and classification information.
As for Columbia’s Plimpton Manuscript collection, Consuelo described why so many manuscripts were broken off in scrappy segments instead of being retained as whole books. George Plimpton, the founder of the Plimpton collection, bought a myriad of cheap little items from 1925 to 1965. One hypothesis as to why these manuscripts were sold folio by folio instead of by book was because of their cheapness. Consuelo offered another imposing hypothesis: that libraries often accept and recognize volumes of one work, having difficulty classifying and describing a book containing multiple works or texts. Due to this, many manuscripts have portions in several localities.
The class was certainly an enlightening one. Not only did we learn about manuscripts and documents by reading and holding them, but we learned about manuscript culture history and how conservationists and curators locate the time and place of the manuscript. In addition, Consuelo’s generosity and warmth culminated in an exciting and welcoming experience that shall not be forgotten. On behalf of the Centre of Medieval Studies, I wish to thank Consuelo Dutschke and Columbia University for hosing such an enlightening class, for it provided indelible inspiration towards our quests to study manuscript culture.
On September 30th, Katherine Briant of Fordham’s Center for Medieval Studies curated a viewing of medieval manuscripts and early printed books in the Mertz Library’s Rare Book and Folio Room as part of the first day of this year’s Biduum Latinum, which was hosted by the New York Botanical Garden. Consisting of thirteen books of botany and medicine that span the late 12th to mid-16th centuries, Katherine’s exhibit presented examples of some of the most influential scientific texts of the Middle Ages in forms and copies ranging from the startlingly beautiful to the equally startlingly practical.
Two Circa Instans copies were displayed, one from the late 12th century (QK 99 .P575 1190) and the other from the last quarter of the 13th century (QK 99 .P575 1275). The former, much more practical in its appearance and having been well-used, contrasted with the latter copy, which was obviously meant to be admired beyond the contents of its leaves.
The contrast gave the exhibit’s audience a more complete understanding of the space these texts inhabited in medieval intellectual culture and manuscript culture. While of a more practical nature than many other kinds of texts, medical and botanical books were still decorated, showing the simultaneous importance of both the knowledge that the book was meant to transmit and the presentation of that knowledge on the manuscript page.
Also of note were two other works Katherine presented and described. The first, a medical compilation from 13th-century France (R128 .C65), shows the ways in which recorded medical knowledge was expanded and commented upon by readers who added ample notes and marginalia over time to the text. Another text, a 1565 Venice edition of Mattioli’s Commentarii, was paired with an original woodblock used to create the illustration of Eruca Sativa (Rocket) for that plant’s entry in the book. The audience had the chance to compare the image produced in the text with the mirror image carved into the woodblock, imagining the action of pressing the inked block into the page and visualizing the physicality that early modern book production entailed.
This book viewing was a wonderful way to end the first day of the Biduum Latinum, and it provided participants with the opportunity to see the material objects that transmitted the botanical knowledge featured in the bootcamp’s second day. The Center would like to congratulate Katherine on her successful exhibition and would like to extend a grateful thanks to the New York Botanical Gardens for their warm welcome.
Andrew O’Sullivan spent this past 23-27 of May at the Folger Institute in Washington, D.C. He attended there the Institute’s Orientation to Research Methods and Agendas with the intention of gaining a better understanding of the textual environment in which early modern readers began to re-learn and engage with Old English and Anglo-Saxon studies and the kinds of books those readers would have read to do so. While there, Andrew met Dr. Owen Williams, the Assistant Director of Scholarly Programs, who served as the groups’ primary guide through the busy week’s program. Extremely knowledgeable of current scholarship concerning the Institute’s library and materials, Dr. Williams engaged the attendee’s interests and provided them with the names of scholars with connections to the library whose work overlapped with those interests.
With this guidance, Andrew and the attendees each chose one or two books or manuscripts from the Institute’s Rare Books collection as the focus of their studies. Andrew picked Richard Verstegan’s 1605 history of Anglo-Saxon England and first printed Old English wordlist, Restitution of Decayed Intelligence; and William Somner’s Dictionarium Saxonico-Latino-Anglicum, a trilingual Old English-Latin-English dictionary printed in 1659. Andrew’s time with the books provoked new questions about their genesis and how their readers used them prompted in large part by the daily workshops and discussions during which the Folger Institute’s staff and other visiting scholars presented aspects of book production and trade. As an example, Dr. Thomas Fulton, a Milton researcher on leave from Rutgers University’s English Department, observed in one presentation that the paratextual elements of the King James Bible, such as the frontispiece and its caption, may have shaped the structure of Paradise Lost. Inspired by this, Andrew spent that day paying extra attention to the paratext of Verstegan’s Restitution, noting a number of dedicatory poems written by, among others, Richard Stanihurst, an Irish historian, and Cornelis Kiliaan, a Dutch lexicographer. This wide array of scholars with an interest in English language history crossed national and confessional lines in ways that Andrew believes “defy easy explanation.” At the end of the week, Andrew and the other attendees presented the highlights of their individual investigations to the group so that they might inspire new methods of analysis or insights.
Andrew came away from the program with a richer understanding of the complex social context from which the books he chose emerged. Additionally, the experience of researching the Anglo-Saxon past at the Folger Library provided an opportunity to reflect on how each age places itself in relation to its past. Books like Verstegan’s were written to commemorate the English past, but they were also meant to demonstrate that England’s origins lay outside itself, much as the Folger Library seeks to remind us of our own nation’s extraterritorial origin. But the monumental aspect of the library and even the city around it work to consolidate history and create a unified image, meant to stand against time and dissolution. As a result, attempts to memorialize the past can have the effect of sealing it off rather than opening it up for engagement. Making the past visible and vital to the present requires constant work from its students; Andrew, and the other participants had the privilege of learning from the Folger Institute’s staff, who were able to show how the books in the library’s collection pointed to complex historical realities. To avoid presenting a rigid and brittle image of the past, institutions need people like those at the Folger Institute who can respond to the questions and interests of the public and present the objects they preserve in a way that invites further investigation.
This post is cross-blogged from History at Fordham University
Fordham History Department’s own Esther Liberman Cuenca was recently awarded the Schallek Fellowship, a one-year grant of $30,000 to support Ph.D. dissertation research in any relevant discipline (art history, literature, history, etc.) dealing with late medieval Britain (ca. 1350-1500). Not only is this a prestigious honor but it will allow Esther to conduct research critical to the completion of her dissertation.
Esther’s research focuses on the development and evolution of borough customary law in medieval Britain. Borough customs were practices or traditions that over time acquired the force of law within the town. Her analytical goals are twofold: to contribute to a deeper understanding of the place of urban customary law within the British legal system, and to reveal custom’s role in the emergence of a distinct bourgeois identity in medieval Britain. Borough customary law has received little scholarly attention because of its scattered distribution in many local and county archives; the need for multi-lingual expertise in Latin, Anglo-Norman French, and Middle English; and the difficulty of dating customary clauses and ordinances from multiple iterative copies.
Since she reached ABD status at Fordham in 2012, Esther has been teaching multiple courses at Marymount California University and this fellowship will give her the opportunity to focus fully on completing her dissertation. She plans to spend the 2016-2017 year living in England where she can complete her research at the Bristol Record Office and London Metropolitan Archives. In 2013, Esther was also the recipient of the Schallek Award, which is a small grant of $2,000 to help students cover research expenses. “The Medieval Academy/Richard III Society have been very kind to me! And I’m very grateful that they’re supporting my research,” says Esther.
By Grace Healy
The Très riches heures, a book of prayers commissioned for a French prince, is one of the most famous illuminated manuscripts of the 15th century. It contains dozens of images painted with rich pigments and embellished with gold. The original sits in the Musée Condé in Chantilly, France.
But thanks to a fine art facsimile of the historic tome in Fordham’s Walsh Library, students can flip through the lush pages and absorb a visual representation of medieval art and religion.
The Très riches heures facsimile is one of 300 books and objects donated to Fordham by Dr. James Leach, a New York physician who’s been curious about medieval manuscripts and liturgical books since he was young.
“When I was growing up, I had an interest in Latin and in the church,” said Leach, who heads the dermatology department at Lincoln Medical Center in the Bronx. “The prayer books I was familiar with were a springboard to begin looking at the older manuscripts.”
He began amassing a collection of fine art facsimiles of medieval manuscripts, which have been produced since around 1990, typically in limited-edition runs of 300 to 900 copies. He thought that Fordham, as a Catholic university with an established medieval studies program, would be the perfect repository for these works. Leach also donated a sizable collection of original Catholic prayer missals from the late-19th to early-20th centuries.
Nina Rowe, PhD, chair and associate professor of art history at Fordham, said the University is lucky to have such high-quality reproductions available for students.
“One can certainly lecture in the classroom about the technical aspects of luxury handmade books from the eighth to the 15th centuries in Europe,” Rowe said. “But with high-quality facsimiles, students can get a sense of the ways in which illuminated manuscripts were functional objects, designed to be viewed up close, leafed through, and carried.”
Rowe said the Très riches heures is one of the “greatest hits” of medieval art history. She also has a few other favorites among the collection.
“I’m delighted to be able to teach students from the facsimiles of the Lindisfarne Gospels, an English monastic manuscript made around the year 700 and renowned for its so-called Carpet Pages, full-page designs with intricate interlace, often in the form of the cross,” she said.
“Another favorite facsimile of mine reproduces a Moralized Bible (sometimes called the Saint Louis Bible) from Paris, 1226 to 1236. Every page features eight circles arranged in four pairs, each with little scenes linking a vignette from the Hebrew Bible to a Christian or contemporary commentary. The images are especially fun when they depict the perceived vices of early 13th-century Parisian life, evoking the real world of the street in a remote period.”
Linda LoSchiavo, TMC ’72, director of the University libraries, said Leach’s contributions are an important addition to Fordham’s Special Collections.
“The facsimiles are an extraordinary example of medieval artistry,” she said. “They’re done with highly specialized devices, and the bindings are reproductions as well.”
The cover of a facsimile of the Sacramentary of Henry II, a liturgical manuscript from the late-10th to early-11th century, includes an intricate copy of the original’s ivory relief. Other facsimiles Leach has donated include theEton Choirbook and the Lorsch Gospels.
The recent establishment of Fordham’s Shvidler Chair in Judaic Studies, and the collection of Judaica being assembled by Magda Teter, PhD, the chair’s inaugural holder, prompted LoSchiavo to ask Leach if he would consider donating a a Haggadah, a book used during Passover seders. He was happy to oblige, and earlier this year donated a facsimile of the Barcelona Haggadah. The original dates to the middle of the 14th century.
Leach hopes his gifts will help Fordham students learn that art and illuminated manuscripts flourished during the medieval period, even though the era sometimes gets a bad rap.
“Most important is that they realize that ‘medieval’ is not purely a derogatory term,” he said. “It was an age of faith and artistic productivity that contributed to Western civilization.”
By Nicole Larosa