ranslating the astpeople.umass.edu/eng3/fcd/documents/rundle_oxon... · 2013. 6. 7. · codicology...

Codicology & Incunabula Bibliography / David Rundle

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TRANSLATING THE PAST

Codicology and Incunabula

A Very Brief Bibliography

Version 2.1 (May 2011)

David Rundle [email protected]

Some Disclaimers Intrepid scholar, do not be under any illusions about what follows. Its purpose is consciously limited. This bibliography is designed for you, as students on this exciting course, solely for the module we will be studying concerning the physical nature of books, both manuscript and printed. In its coverage of both media, it is unusual and ambitious – the worlds of incunabula studies and of codicology rarely collide. Indeed, the subject is so capacious, touching on several topics each of which can keep scholars contentedly productive throughout their careers, that this bibliography is necessarily highly selective. It is also necessarily somewhat arbitrary, reflecting my own interests and reading. As you become expert in these subjects, you will be able to supplement the references given here, and I will be very interested to hear your suggestions of what should have been included. Indeed, I hope that you will continue to send me those suggestions long after you have left Florence: the intention of this bibliography is not that you should master it all during the month you are in Tuscany but that it should continue to assist you as you pursue the lively interest which we hope will have been instilled in you, in the months and years after you have returned home and develop your own research. Bibliographies and Glossaries Let us begin this bibliography of certain bibliographical matters with a bibliography: the late Leonard Boyle’s Toronto volume [23] is an indispensable guide to scholarly writing on all aspects relating to manuscripts up to the early 1980s. Our subjects can sometimes be laden with seemingly impenetrable terminology, sometimes peculiar to an individual scholar. Attempts have been made to ‘regularise’ the language used, though with some resistance (particularly among the British). It was, in good Napoleonic spirit, a codification first attempted in French [94], with an Italian version following [86]. A multi-lingual vocabulary based on these volumes is now available on-line [168]. Meanwhile, monoglot, but also of use, is the glossary provided by the University of Melbourne’s ‘Ductus’ site [162]. More basic, but with the advantage of clear images, is the British Library glossary [155], based on the work of Michelle Brown [26].


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Some of the terminology now used is neologistic – medieval manuscript-makers would have scratched their heads at these later Latin coinages. However, an important study of how one group of manuscript-lovers, the Renaissance humanists, described the books with which they worked is provided by Silvia Rizzo [117]. Our Subject: Codicology – and the History of the Book The term ‘codicology’ is itself a latterday creation. Like ‘television’, it is a hybrid Greco-Latin concoction, meaning, literally, the study of the codex. It was (it is often pointed out) invented as a term in French in the mid-twentieth-century, but reflects (it is just as often noted) a longer tradition of study, expressed in German as Handscrhiftenkunde (see Gumbert’s preface to [1], or the codicology page of [164]). Some of the elements which we will need to discuss below, particularly the study of manuscript illumination or of bindings, can claim to have an autonomous existence, but, for the large part, the activities of the codicologist have traditionally been subsumed within palaeography (note the title of Boyle’s bibliography just mentioned). More recently, the practices have been festooned with a series of other, arguably more approachable titles – in English, ‘the new philology’, ‘the archaeology of the book’, or ‘the history of the book’ – with differing connotations and with varying popularity or durability in separate niches of academe. The term ‘history of the book’, for instance, is often confined to print (for those who study print sometimes imagine that the book was only born when movable type was invented) but the interests of its leading practitioners, like the late Donald MacKenzie [89], share much with the manuscript codicologist. The fundamental purpose of codicology is to be able to describe a manuscript in all its physical aspects, and that will be the focus for our course. However, that should not be the limit of a codicologist’s ambition: you should continually ask yourself not just ‘what are the facts?’ but also ‘what do those facts mean?’, what can they tell us about the history of the particular book, and what can the history of that book tell us about the milieux in which it was produced and put to use. Insights can be derived both from individual books and from ‘quantative codicology’, gathering together data from a corpus of volumes. The outstanding example of the latter is highly relevant for our course: it is the study of humanist manuscripts by Albert Derolez [48]. Partly because it is an area of study that has only been christened in the past half-century or so, and partly because its subject-matter is so varied, few have yet tried to provide codicology with a text-book. The best and most substantial attempt is the recent (but now out of print) work of Maria Luisa Agati [1]; also of use are the earlier and shorter volumes by Jacques Lemaire (who is not shy to take issue with his peers) [81] and Marilena Maniaci (whose range takes her far beyond medieval Europe) [85]. Our Subject: Incunabula The term ‘incunabula’ (Eng.: incunables) was a seventeenth-century coinage for those books produced using the new technology between its invention, c. 1450, and the year 1500. The sort of detailed technical understanding, equivalent to codicology, for printed


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books is called bibliography, a discipline for which there are several introductions (you will find particularly useful that by Philip Gaskell [59]). Bibliography is a study of minutiae – some might say pedantry – but without its findings, there would be no bedrock for the trend we have already mentioned – ‘the history of the book’; it would be built on sand. Despite the level of learned activity in the study of early printed books, there is no single approachable textbook that describes their nature or their development. There are, instead, a growing series of essay-collections, with two recent examples in English being that edited by Kristian Jensen [72] and the festschrift to Lotte Hellinga edited by Martin Davies [40]. In modern scholarship, unlike the world they inhabited, the fifteenth centuries of print and manuscript studies are often divorced. This is, partially, one of the consequences of the thesis that the ‘print revolution’ transformed society – a thesis associated with Elizabeth Einstein [50], but also present in the work of Febvre and Martin [51]. Einstein’s thesis was controversial from the first publication of her work in 1979, as is reflected in reviews like that of Antony Grafton [65]. A helpful development out of that backlash has been that some recent scholars, like David McKitterick [90] and Brian Richardson [116] have sought to emphasise how print developed within a mindset of the manuscript. Some, like Paul Saenger [121] and Margaret M. Smith, have tried to provide more subtle estimates of the detailed but highly influential changes to the book that came with print. Others have looked further into the sixteenth and seventeenth centuries at the continuing production of manuscripts: in an English context, significant are the works of Peter Beal [13] and Henry Woudhuysen [141]. Production of Books Scholarship continually strives to place books into their context, and their most immediate context is that of their production. When handling a book – any book – think about how it came into being and how it ended up on your desk. That is to say, production is not simply about book-making: it is about the process from the first decision to create a book to its arrival at a reader’s desk. The range of topics it can cover are suggested by the leading historian of the book in eighteenth-century France, Robert Darnton [38]: his focus is naturally on a period later than ours but, with some intelligence, the same sorts of questions can be asked of our subject-matter. For manuscripts, a short and readable introduction to the production of the book is provided by Christopher de Hamel [42]. A sense of the range of contexts in which scribes worked and their development over time is provided, for the English context, by Malcolm Parkes’ succinct and learned overview [103]. There is a tradition of scholarship that reconstructs the cultural activity of a particular locale through a detailed study of the palaeographical and codicological evidence furnished by manuscripts produced there. The locale might be a particular monastery: notable examples include Francis Newton’s heavy-weight study of a half century in the


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life of Monte Cassino, the leading centre of Beneventan script [97]; Rod Thomson’s succinct survey of the twelfth-century renaissance at the abbey of England’s protomartyr, St Albans [135], and David Ganz’s study of manuscripts and their annotations from the Carolingian monastery of Corbie [57]. Alternatively, the milieu could be a specific city, as in the Rouses’ monumental investigation of the Parisian book-trade [118]; the directory of the London book-trade compiled by Paul Christianson [27] is on a lesser scale but, like the Rouses’ work, does include both manuscript and printed-book producers. Another example worth mentioning, though it remains unpublished, focuses on a Florentine book-seller who despised print: it is the doctoral dissertation of Tilly de la Mare on Vespasiano da Bisticci, known nowadays also for the Vite of famous contemporaries he wrote in retirement. The riches of her research into Florentine scribes of humanist manuscripts are reflected in her later articles (most notably [43]). The most recent posthumous work of the late Prof. de la Mare reflects another tradition of close study, that which concentrates on a particular scribe, in her case the master of the script known in English as ‘italic’, Bartolomeo Sanvito [45]. My own small foray into this type of study is endebted to de la Mare’s work and discusses the palaeography and codicology of manuscripts by one English humanist scribe of the fifteenth century [120]. This tradition of study tends most often to be presented in article form rather than at book length, and the quattrocento is the most fruitful period for such study, because of the increased in signed manuscripts and the greater possibilities of identifying a scribe’s oeuvre. But there are works on earlier centuries, like Christine Franzen’s work on the anonymous Worcester scribe of the thirteenth century known to scholars as ‘the tremulous hand’ [55]. The parallel in research on printed books is an interest in the working habits and products of specific printing houses. The man credited with inventing print, Johannes Gutenberg, has received biographical attention (for instance [74]), though much scholarship concentrates on his most famous product: the Gutenberg Bible is discussed by Martin Davies [39] and placed in context by an important set of essays [122], but note that our knowledge has been challenged by recent technical discoveries by Blaise Agüera y Arcas and Paul Needham [2]. Perhaps the early printer whose career has attracted the most interest is the Venetian, Aldus Manutius, on whom the best English introduction is the study by Martin Lowry [83]; this can be supplemented by the useful Florentine exhibition catalogue [18]. Aldus is particularly associated with printing in Greek, a subject discussed by Nicolas Barker [9]. Martin Lowry also wrote on another leading printer of Venice, though not of local origin: Nicholas Jenson [82]. These figures, alongside Vespasiano, appear in any discussion of the development of the book-trade in the fifteenth century. Angela Nuovo considers the subject in its Italian context [98]; the recent work of Andrew Pettegree has highlighted the uneven geography of printing across early modern Europe, both in an important article [106] and in a later book [107]. The history of the book trade does not start in the fifteenth century, as is shown by the Rouses work on Paris, mentioned above. Another aspect which should be mentioned is


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the practice developed by stationers in medieval university towns known as the pecia system – a process intended to assist the production of multiple copies of a text, first documented in 1228. Graham Pollard provided a classic essay on this subject [111] and, the system has excited interest far beyond the quantity of surviving ‘pecia copies’, reflected in the bibliography provided by Leonard Boyle in his contribution to the topic [24], which can now be heavily supplemented by conference proceedings [11] and collections of documents [93]. While the preceding paragraphs hint at the vitality of research on the production of books, there remain many questions to which we have, at best, only tentative answers, particularly for the world of manuscripts. For instance, it is worth asking how quickly a scribe could write: J. P. Gumbert [69] and Michael Gullick [66] have attempted to hazard a response to that query. Similarly, while there is plentiful evidence for the price of printed books, there have been few attempts to gather together the information from diverse sources for manuscripts: there is an old article by H. E. Bell, working from English evidence [14]. In short, there are plenty of discoveries yet to be made. Libraries, Librarians and Catalogues Before we consider how we would describe a manuscript deposited in a modern library, we should think about the libraries and catalogues that could have been their first home. A study that is now over a century old but is still useful for its range of reference and attention to the physical details of libraries is the work of J. W. Clark [33]. There are important and helpful essays in the new Cambridge History of Libraries [80], but their focus is only on the British Isles. There is also a suggestive lecture, unprinted but on-line, by Richard Sharpe, which is insightful about both the medieval librarian and the later fortunes of the stock once in the librarian’s charge [166]. Similarly useful is the same authors’ discussion of English post-Conquest library catalogues, which draws some parallels and contrasts with the continent [126]. Many medieval and sixteenth-century catalogues of medieval libraries have received later editions. For example, the inventories of the French royal library were brought together by the leading French manuscript scholar of the turn of the nineteenth and twentieth centuries, Léopold Delisle [47]. In Britain, there is an on-going project, under the watchful eye of Richard Sharpe, to edit the extant medieval book-lists, the Corpus of British Medieval Library Catalogues – these range from catalogues of individual libraries, like Syon Abbey [64], to collections of lists for the two English universities and their colleges (Cambridge alone is published to date [34]), to the medieval ‘union catalogue’ by Henry of Kirkestede [70]. Meanwhile, in Italy, and especially relevant for our purposes, are the catalogues of the library of San Marco of Florence [137], and of the collection of Pope Nicholas V, which became the base of the Vatican Library [87]. It should be noted that, in the catalogues of Syon Abbey and San Marco, manuscripts and printed books appear side by side.


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Cataloguing Manuscripts and Incunables As latter-day cataloguers, we are the heirs to forbears, both medieval and early modern. An overview of the history of post-medieval manuscript cataloguing is provided by Armando Petrucci [108]. His book includes a set of extracts from earlier writers (from Montfaucon to Ker) outlining their principles for manuscript descriptions. We will be looking at some of these – in particular, Neil Ker’s template – in more detail; others are worth reading in full, especially the volume of Léopold Delisle’s instructions and examples for describing both manuscripts and incunables [46]. Notably absent from Petrucci are the German guidelines followed in recent catalogues for describing manuscripts; these are now available on-line at the Richtlinien Handschriftenkatalogisierung pages of the important ‘Manuscripta Mediaevalia’ website [161]. Cataloguing printed books necessarily follows a different set of rules from that for manuscripts. The most accessible introduction to the history of incunable cataloguing is provided by a Japanese website (with, you will be reassured to know, English pages) [151]. The various modern incunabula catalogues are known by various abbreviated titles and acronyms. Here is a selective list of the most commonly used: BMC [British Library], Catalogue of Books printed in the XVth century now in the

British Museum, 13 parts (London, 1963 – 2007) Bod-inc A. Coates et al., A Catalogue of Books printed in the fifteenth century now in

the Bodleian Library, 6 vols (Oxford, 2005) CIBN [Bibliothèque nationale de France], Catalogue des incunables, 2 vols in 4

fascicules (Paris, 1981 – 2006) Coates see Bod-inc Copinger W. A. Copinger, Supplement to Hain’s Repertorium bibliographicum, 2 vols

(London, 1895 – 1902) Goff F. R. Goff, Incunabula in American libraries: a third census (Millwood,

N.Y., 1973) GW Gesamtkatalog der Wiegendrucke, 11 vols to date (Stuttgart, 1968 – ) Hain L. Hain, Repertorium bibliographicum, 2 vols (Stuttgart, 1826 – 38) IGI T. M. Guarnaschelli e E. Valenziani et al., Indice generale degli incunaboli

delle biblioteche d’Italia, 6 vols (Roma, 1943 – 81) ISTC [British Library], Incunabula Short Title Catalogue (on-line) Modern catalogues of incunables are well-served by servers, so to speak: GW [157] and ISTC [160] are both available on-line, as well as several more localised catalogues. There is no equivalent to a project like ISTC for manuscripts, but there are many catalogues now on-line. Some of the most impressive recent ones include the complete digitisation of the manuscripts themselves: this is the case with the collection of Corpus Christi College, Cambridge, which is well worth viewing, if your institution has a subscription [165]. In many cases, libraries have provided only select images of their manuscripts, often concentrating on their illumination, as discussed in the relevant section below.


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Meanwhile, some famous individual incunabula have been fully digitised and are available on-line: the Gutenberg Bible has received this treatment several times – the British Library website [156] allows you to compare two copies, one on paper, the other on parchment, as well as having links to the other on-line presentations. Other incunables available in full on-line include William Caxton’s printings of Chaucer’s Canterbury Tales [149] and the enigmatic classic from the press of Aldus Manutius, the Hypnerotomachia Poliphili (though this last concentrates on the text at the expense of the physical nature of the book) [158]. Describing a book: the materials The material most often used in the Middle Ages for the folios of a book was parchment, that is prepared animal skin. Saying anything more specific than that enters into areas of debate: some of the controversy can be sensed from the various essays in the volume which is the most scholarly introduction to the subject [119]. There is an older, readable outline of the production of parchment [114]. The other material that, over time, spread across Europe and was to become the main support for the printed book, was paper. A scholar of Islamic culture, Jonathan Bloom, has provided a history of the material in medieval societies which places its late arrival in western Europe in context [22]. One of the Italian centres of paper-making, Fabriano, in Le Marche, has a well-known Museo della Carta e della Filigrana which provides a website introducing its subject and its materials (better read in Italian than in its broken English) [154]. There is a conference publication that discusses aspects of paper’s earliest history in the West [143]. Of prime importance is also the recent consideration that has been given to the cultural milieux which may have promoted the use of paper, with an attractive and thus influential – but problematic – hypothesis presented by Erik Kwakkel [78]. A particular feature of paper is its makers’ use of watermarks, which can help to date and to localise the material and thus, possibly, the book produced from it. The classic catalogue of watermarks was compiled by the son of a French paper-maker, Charles-Moïse Briquet [25]. There is an on-going project to put that, and other catalogues, on-line, at the same time as it is being superseded by new on-line resources. Access to many of those is provided by the Austrian Wasserzeichen des Mittelalters site [169]. Also available on-line is another relevant work of Briquet’s, his study of watermarks in the Genovese archives [170]. There are also recent projects to use the watermarks in incunabula to date those printed books which are undated: the Low Countries project has an informative and detailed website [171]; there is a similar project for Spanish incunabula [172]. Describing a book: structure A manuscript is compiled of quires, a printed book of gatherings – in both cases, a collection of sheets folded and tied together. Those quires of a manuscript could then form a booklet, a fascicule or a whole volume. The construction of these quires is


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susceptible to study themselves, as Léon Gilissen showed in detail [62]. A good example of how tiny details can lead to larger conclusions is provided by a wide-ranging article by Mildred Budny: taking as her starting-point a set of tiny marks in the Carolingian Vivian Bible, she considers the range of marks used by manuscript-producers to assist assembly and organisation of their books [29]. One method of ordering quires that developed (and was later imitated in printed books) was the placing of the first word of the next quire at the bottom verso of the previous – the development of these catchwords was discussed by Jean Vezin [138] and their use in humanist manuscripts is expounded by Derolez [48]. Describing a book: layout of the page The details of how the text is presented on the page – part of the mise-en-page [62] – can provide evidence about the dating of the manuscript, as well as intended purpose. For instance, in the mid-thirteenth century a change occurred in ruling a manuscript so that the text moved from being written ‘above top line’ to ‘below top line’ – the classic brief discussion of this appears in Neil Ker’s collected essays [75]. Similarly, there is a seminal essay by Malcolm Parkes on the cultural influences that changed the layout of manuscripts from the twelfth to the thirteenth centuries [101]. The methods of ruling itself also have their own history. The basics of the practice of pricking – puncturing the folio to provide a guide to ruling – have been described [73], but, under that heading, there is variation, described in outline by J. P. Gumbert [68] and detailed by Derolez both in his magnum opus [48] and in a later article [49]. Describing a book: script and type Any manuscript description will give a brief designation of the script used in the manuscript. A description is not the place for a detailed discussion of the palaeography – the basic that is required is a mention of type and grade of script. However, it is also useful to mention whether there are any features that make the script idiosyncratic or identifiable as a work of a particular scribe. This may include features of punctuation. Some manuscript cataloguers give a separate section in a technical description to a discussion of punctuation: this habit was pioneered by Malcolm Parkes in his catalogue of Keble College, Oxford [100]; he has also written a history of medieval punctuation [102]. Another topic which is gaining increased attention is the ink used by the scribe. There is a wide-ranging history of ink, placing the experience of medieval Western Europe into a much broader context [142]. Alongside ink, we should also consider the implements scribes used to write, and this, in turn, might lead us to think about the immediate physical contexts in which they worked: the surfaces, the desk, the seating. A useful short and general overview of these issues is provided by a calligrapher, Ewan Clayton, bringing his own experience to bear on the topic [35]. Others have discussed the evidence provided by depictions in miniatures or art more generally – for instance, for fifteenth-century England [124], and (at greater length) for Renaissance Italy [136].


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For incunables, the equivalent of script is, of course, type, but catalogues often reduce the information about it to little more than one or two letters – R, It or G, for roman, italic and gothic. This information is preceded by a measurement of size (giving the height of twenty lines of text). There is, of course, more that can be said about individual types and, for some, an interesting history of their origins can be written, as in Nicholas Barker’s discussion of Aldine italic. Describing a book: illumination A manuscript – or, indeed, a printed book – may include illumination of which some notice must be given in any description. However, the literature on illumination is so extensive this bibliography can not begin to do justice to it. The study of illuminated manuscripts has become established as a noble element in the discipline of art history, thought that was not always the case. There is, indeed, a history to be written of the development of interest in illumination, as reflected in sales and exhibitions; that history is being written by Bill Stoneman [133]. For the time being, there is a suggestive and broad overview provided in an exhibition catalogue from Northwestern University, Illinois [71]. The present perception of illuminated manuscripts as works of arts allows them to receive the treatment accorded to objects of that status. So, they can be considered a worthy subject for gallery exhibitions. In particular, illumination from the fifteenth-century (and later) has appeared on display in several ‘block-busters’: in the mid-1990s, there were near-contemporaneous shows in Paris, on late medieval French miniatures [7], and in London, on humanist illuminated books [4]. A couple of years later and the Laurenziana in Florence had a ground-breaking display on humanism and the Church Fathers [61]. More recently, in Los Angeles (and later London), there has been an exhibition on the Burgundian contribution to Renaissance illumination [77]. Not all recent major shows have had the same narrow chronological focus: one British exhibition in 2005 brought together manuscripts from across centuries which share a present location: The Cambridge Illuminations [19] (with an accompanying collection of conference papers [99]). What the catalogues from these exhibitions have in common is that they combine new scholarship with attractive illustration. The most lavish reproduction is, of course, the tradition of the facsimile but that is now supplemented by the burgeoning on-line digitized images of manuscripts, which tend to concentrate on their illumination – sometimes to a frustrating degree. So, with the British Library Catalogue of Illuminated Manuscripts [146], you will be able to see the style of each volume’s initial, but you might not be able to catch a glimpse at its script. Other large projects include that of the National Library of The Netherlands [163], or the French project, Enluminures, bringing together images from French public libraries [153]. Indeed, the websites have become so numerous that they need websites to provide e-bibliographies to them: one useful on-line tool is UCLA’s Catalogue of Digitized Medieval Manuscripts, but this confines itself to manuscripts that have been uploaded in full, rather than presented only with selective images. Another is the Digital Scriptorium, the links from which are not confined to


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illuminated manuscripts but are limited to a range of American collections. A personal listing, citing both exhibition sites and those for individual manuscripts, is provided by Siân Echard of the University of British Columbia [167]. As with the production of the book generally, so the methods of creating an illuminated page is worthy of study: the most useful book on the subject in English is J. J. G. Alexander [1]; there is also much on this, and more besides, in the highly engaging volume by de Hamel [41]. Some medieval treatises on the preparation of pigments and on illuminating more generally survive, and have been edited. Andreas Petzold discusses one [109], dating probably from the eleventh century and known as De coloribus et mixtionibus; another, De clarea, has a recent edition [30]. Kathleen Scott has provided a listing of contemporary terms for illuminating codices, drawn from English manuscript evidence [123]. As alluded to above, illumination does not end with the arrival of print – Lillian Armstrong provides a recent example of scholarship in this area [6]. Describing a book: marginalia Interest in marginalia as a subject of study in its own right is a fairly new phenomenon; at least one conference devoted to the subject has resulted in an eclectic set of essays that suggests the range of possibilities of research [52]. The sort of annotations that can be studied do not have to be verbal. The most frequently-sighted sign in the margin is the pointing hand or manicula; for its early-modern history, see [130]. Marginalia, of course, provide a sub-set of any reader’s responses to the text, but their format can hint at the changing practices of reading and of note-taking; a recent article [21] gives a suggestive introduction to those practices in the early modern period, when scholars lived in fear of an overabundance of books. Sometimes – and those times are not necessarily that long ago – a manuscript would be ‘cleaned’ or improved by the removal of its marginalia [129]. We might prefer our books ‘dirty’ but the activity of cleaning is a reminder that the provenance of a book – an ‘association copy’ – has not constantly been prized. Describing a book: bindings Like the experts in manuscript illuminations, the scholars of book-bindings form their own tribe, whose works have multiplied like the sand and who are governed by their own particular customs. For instance, this is one area of study where the distinction between manuscript and printed book has little significance: judging a book from its outside, they are not overly worried whether the pages contained are hand-written or in type. This is also an area of study which has embraced the internet warmly. With such a fertile area of study, the listing here can be nothing more than highly cursory.


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Book-binding was not always so blessed: Graham Pollard, writing late in life in the 1970s, complained about how rarely bindings were noticed in catalogues, in an article which itself provides an insightful introduction to the subject [110]. Nowadays, for Anglophones, there is a both basic introduction to the subject [88] and a more detailed discussion of the history of binding and the state (and future) of their cataloguing [91]; both include useful glossaries and both stretch far beyond our period. There is also a more detailed overview of the different types of medieval bindings [134]. To master book-binding’s private language, there is a detailed Italian guide [84], with (sometimes inaccurate) translations of terms into French, German and English. Recent years have seen a series of major projects to record and research historic bindings, and some sense of the range of those is provided by the proceedings of a 2003 conference [79]. The results of some of those are being mounted on the web: for instance, the British Library Database of Bookbindings [147], or the display provided by Florence’s Biblioteca Riccardiana [144]. As well as the nature of the binding itself, a scholar should check whether the externals of the book provide any further evidence for its history: for instance, is there any sign that it once was held in place in a library by a chain? On chains and chains staples, see the brief articles by Ker [75]. Is a title or some clue to provenance marked somewhere on the binding or on the edges of the pages themselves, suggesting how it was stored? On non-verbal painting on book edges, there is a short discussion by Mirjam Foot [54]. You must also check inside the covers to see what has been used as pastedowns and flyleaves – sometimes earlier manuscript folios or printed pages have been cut up and used for this purpose. Indeed, as Neil Ker showed in a classic study, recently reprinted with addenda, Oxford in the sixteenth and early seventeenth century was a centre of book-binding particularly given to this habit [76]. Identifying the text As well as providing a description of the physical book, the cataloguer needs to give clear information about the volume’s contents. This may not be as easy as it sounds, as a manuscript itself might provide incomplete or misleading evidence. The information provided in the books themselves and in the medieval catalogues that record them often worked by different standards from our own expectations of bibliographical data. The process of identifying texts is discussed in its intricacies by Richard Sharpe [127], and there is also some guidance in the volume overseen by Jacques Berlioz [16]. There are also modern tools to assist with identification, in particular the listings of opening words. Of specific relevance for us is Ludwig Bertalot’s collection of humanist incipits initia [17]. A more general and significant on-line resource is the Brepols database, In Principio [159], though it should be noted that is coverage is in large part dependent on printed catalogues. A book often does not include a text simply on its own: it might provide an index, or a contents list, or an added preface – all of which are covered by the recent coinage, paratext. The word was invented, and the topic discussed, by Gérard Genette [60]. Bill


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Sherman provides a characteristically insightful discussion of paratext and the architecture of the printed book [128]. Others have discussed particular types of paratext, the title-page, for instance, [132] or errata lists [20]. All these examples show how the concept is being adopted for early ‘print culture’, but the principles of paratext have relevance also for the world of manuscripts. Provenance The final part of any description should be the evidence for the volume’s own particular history. A useful introduction to the techniques that can be used for researching provenance is provided by David Pearson [105]. A manuscript can sometimes be up-front about its origins – or, rather, at-the-back, as the information is usually included in a colophon. There is a handily available listing of colophons brought together from references in printed catalogues – meaning that the collection is both outsize and incomplete [15]. It is supplemented by Lucien Reynhout in his meticulous study of the changing fashions in the wordings of colophons (an enterprise in quantative codicology) [115]; there is a useful collection of essays, both discussing particular examples of colophons and considering their significance [36]. From the definite we can move to the probable or possible. Colophons can be used both for their naming of their scribe and for their dating. For Greek copyists, there is an on-going project, intended to attribute unsigned manuscripts to scribes on the basis of their signed codices [56]; a parallel at the heart of our area of study would be the designation of hundreds of humanist manuscripts to specific Florentine scribes by A. C. de la Mare [43]. Meanwhile, dated manuscripts are valued for their acclaimed ability to provide a palaeographical chronology, and so there are catalogues of ‘Dated and Datable’ manuscripts being produced in most Western European countries. Another detail which can be of use in identifying the provenance is the first word or words of the second folio, known nowadays as the dictio probatoria; some medieval catalogues from some countries use these words (in manuscripts and, occasionally, in printed books) to identify their specific copy. The uses, and pitfalls, of using them as a source for provenance are discussed by Daniel Williman [140]. The history of a book does not stop with the end of the Middle Ages (whenever that might have been): its post-medieval fortuna should also be considered. It is rare for a book to have remained always in the same place, and its travels can provide an interesting history in itself. Writing from the English perspective, there is an important essay on the ‘migration of manuscripts’ by Ker in his collected essays [75]; significant also are the works of Andrew Watson, with his collected essays being the best starting-point [139]. The particular cataclysm in England was the impact of the Dissolution of the Monasteries, eloquently discussed recently by James Carley [31] and by Nigel Ramsay [112].


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This example serves to remind us that what we have lost is much greater than what survives. On the history of destruction of libraries, from antiquity to the twentieth-century, there is a recent set of essays [113]. The impact of destruction is witnessed also in the survival of manuscript fragments, on which there is an interesting volume of conference proceedings [28]. It should be remembered, however, that it is not only manuscripts that suffer this fate; many incunables, if they survive at all, survive only in single copies [96]. The process of destruction has not ended – a reminder that the work of the cataloguer, the codicologist and the historian of incunabula can have an immediate relevance, and an urgency.


14

Listing

I: hard-copy works

[1]. Agati, M. L. Il libro manoscritto. Introduzione alla codicologia (Rome, 2004). [2]. Agüera y Arcas, B. ‘Temporary Matrices and Elemental Punches in

Gutenberg’s DK Type’ in [72] at pp. 1 – 12. [3]. Alexander, J. J. G. Medieval Illuminators and their Methods of Work (New

Haven, CT, 1992). [4]. Alexander, J. J. G. ed. The Painted Page (Munich, 1994). [5]. Alexander, J. J. G. & Gibson, M. T. ed. Medieval Learning and Literature.

Essays presented to Richard William Hunt (Oxford, 1976). [6]. Armstrong, L. ‘Venetian Incunables in Cambridge Collections: modes of hand-

illumination’ in [99] at pp. 233 – 43. [7]. Avril, F. & Reynaud, N. Les Manuscrits à peintures en France 1440 – 1520,

revised edition (Paris, 1995). [8]. Barker, N. ‘The Aldine Italic’ in [95], pp. 45 – 59. [9]. Barker, N. Aldus Manutius and the Development of Greek Script and Type in

the Fifteenth Century, 2nd ed. (New York, 1992). [10]. Baron, S. A., Lindquist, E. N. & Shevlin, E. F., ed. Agent of Change. Print

Culture Studies after Elizabeth L. Eisenstein (Amherst, 2007). [11]. Bataillon, L. J. et al., ed. La Production du livre universitaire au Moyen Age

(Paris, 1988). [12]. Beadle, R. & Piper, A. J. New Science out of Old Books. Studies in Manuscripts

and Early Printed Books in Honour of A. I. Doyle (London, 1995). [13]. Beal, P. In Praise of Scribes: manuscripts and their makers in seventeenth-

century England (Oxford, 1998). [14]. Bell, H. E. ‘The Price of Books in Medieval England’, The Library, 4th ser., xvii

(1936), pp. 312 – 32. [15]. [Bénédictins da Bouvert] Colophons des Manuscrits Occidentaux, 6 vols

(Fribourg, 1965 – 82). [16]. Berlioz, J. et al. Identifier sources et citations ([Turnhout], 1994). [17]. Bertalot, L. Initia humanistica Latina, 2 vols in 3 (Tübingen, 1985 – 2004). [18]. Bigliazzi et al. ed. Aldo Manuzio tipografo 1494 – 1515 (Firenze, 1994). [19]. Binski, P. & Panayotova, S. ed. The Cambridge Illuminations. Ten Centuries of

Book Production in the Medieval West (London, 2005). [20]. Blair, A. ‘Errata Lists and the Reader as Corrector’ in [10] at pp. 21 – 41. [21]. Blair, A. ‘Reading Strategies of Coping with Information Overload, ca. 1550 –

1700’, Journal of the History of Ideas, lxiv (2004), pp. 11 – 28. [22]. Bloom, L. Paper before Print: the history and impact of paper in the Islamic world

(Yale, 2001). [23]. Boyle, L. E. Medieval Latin Palaeography. A bibliographical introduction

(Toronto, 1984). [24]. Boyle, L. E. ‘Peciae, apopeciae, and a Toronto manuscript of the Sententia

Libri Ethicorum of Aquinas’ in [58] at i, pp. 71 – 82.


15

[25]. Briquet, C.-M. Les filigranes, dictionnaire historique des marques du papier jusqu’en 1660, ed. A. Stevenson, 4 vols (Amsterdam, 1968), with an on-line version being uploaded: [145]

[26]. Brown, M. Understanding Illuminated Manuscripts: a guide to technical terms (London, 1994), with revised version available on-line: [155]

[27]. Brownrigg, L. ed. Making the Medieval Book: techniques of production (London, 1995).

[28]. Brownrigg, L. & Smith, M. M. ed. Interpreting and Collecting Fragments of Medieval Books (London, 2000).

[29]. Budny, M. ‘Assembly Marks in the Vivian Bible and Scribal, Editorial, and Organizational Marks in Medieval Books’ in [27] at pp. 199 – 239.

[30]. Caffaro, A. De clarea. Manuale medievale di tecnica della miniatura (secolo XI) (Salerno, 2004).

[31]. Carley, J. P. ‘The dispersal of the monastic libraries and the salvaging of the spoils’ in [80] at pp. 265 – 91.

[32]. Christianson, C. P. A Directory of London stationers and book artisans, 1300 – 1500 (New York, 1989).

[33]. Clark, J. W. The Care of Books. An Essay on the Development of Libraries and their Fittings, from the earliest times to the end of the Eighteenth Century (Cambridge, 1901) [second edition 1902, reprinted London, 1975], with first edition on-line at [150].

[34]. Clarke, P. ed. The University and College Libraries of Cambridge [Corpus of British Medieval Library Catalogues, x] (London, 2002).

[35]. Clayton, E. ‘Workplaces for Writing’ at [67], pp. 1 – 17. [36]. Condello, E. & De Gregorio, G. Scribi e colofoni. Le sottoscrizioni di copisti

dalle origini all’avvento della stampa (Spoleto, 1995). [37]. Da Rold, O. ‘Materials’ in [63], pp. 12 – 33. [38]. Darnton, R. ‘What is the History of Books?’, Daedalus (summer 1982), pp. 65

– 83, revised version in id., The Kiss of Lamourette: reflections in cultural history (New York, 1990), pp. 107 – 36 and also available in [53].

[39]. Davies, M. The Gutenberg Bible (London, 1996). [40]. Davies, M. ed., Incunabula. Studies in Fifteenth-Century Printed Books

(London, 1999). [41]. de Hamel, C. A History of Illuminated Manuscripts, 2nd ed. (London, 1994). [42]. de Hamel, C. Scribes and Illuminators (London, 1992). [43]. de la Mare, A. C. ‘New Research on humanistic scribes in Florence’ in

A.Garzelli, ed., Miniatura Fiorentina del Rinascimento, 2 vols (Florence, 1985), i, pp. 393 – 600.

[44]. de la Mare, A. C. ‘Vespasiano da Bisticci. Historian and Bookseller’, 2 vols (unpublished PhD thesis, University of London, 1966) available via http://ethos.bl.uk/

[45]. de la Mare, A. C. & Nuvolini, L. Bartolomeo Sanvito. The life and work of a Renaissance Scribe [The Handwriting of the Italian Humanists, ii] ([sl], 2009).

[46]. Delisle, L. Instructions pour la rédaction d’un catalogue des manuscrits et pour la rédaction d’un inventaire des incunables (Paris, [1910]).

[47]. Delisle, L. Recherches sur la librarie de Charles V, 2 vols (Paris, 1907).


16

[48]. Derolez, A. Codicologie des manuscrits en écriture humanistique sur parchemin, 2 vols (Turnhout, 1984).

[49]. Derolez, A. ‘Ruling in Quattrocento Manuscripts: types and techniques’ in J. K. Kroupa ed., Septuaginta Paulo Spunar oblata (70 + 2) (Prague, 2000), pp. 291 – 301.

[50]. Einstein, E. L. The Printing Press as an Agent of Change, 2 vols (Cambridge, 1979).

[51]. Febvre, L. & Martin, H.-J. L’Apparition du livre (Paris, 1958), translated into English as The Coming of the Book (London, 1976).

[52]. Fera, V et al. Talking to the Text: marginalia from papyri to print, 2 vols (Messina, 2002).

[53]. Finkelstein, D. & McCleery, A. The Book History Reader (London, 2002). [54]. Foot, M. ‘Medieval Painted Book Edges’ in [125] at pp. 260 – 67. [55]. Franzen, C. The tremulous hand of Worcester: a study of Old English in the

thirteenth century (Oxford, 1991). [56]. Gamillscheg, E., Harlfinger, D. et al. ed. Repertorium der Griechischen

Kopisten 800 – 1600, 9 vols to date (Vienna, 1981 – ). [57]. Ganz, D. Corbie in the Carolingian Renaissance (Sigmaringen, 1990). [58]. Ganz, D. ed. The Role of the Book in Medieval Culture, 2 vols (Turnhout,

1986). [59]. Gaskell, P. A New Introduction to Bibliography (Oxford, 1972). [60]. Genette, G. Seuils (Paris, 1987) – in English: Paratexts: thresholds of

interpretation, trans. J. E. Lewin (Cambridge, 1997). [61]. Gentile, S ed. Umanesimo e i Padri della Chiesa. Manoscritti e incunaboli di

testi patristici da Francesco Petrarca al primo Cinquecento (Firenze, 1997). [62]. Gilissen, L. Prolégomènes à la codicologie. Recherches sur la construction des

cahiers et la mise en page des manuscrits médiévaux (Ghent, 1977) [63]. Gillespie, A. & Wakelin, D. ed. The Production of Books in England 1350 –

1500 (Cambridge, 2011). [64]. Gillespie, V. Syon Abbey [Corpus of British Medieval Library Catalogues, ix]

(London, 2001). [65]. Grafton, A. ‘The Importance of Being Printed’ [Review of [50]], Journal of

Interdisciplinary History, xi (1980), pp. 265 – 86. [66]. Gullick, M. ‘How Fast Did Scribes Write? Evidence from Romanesque

Manuscripts’ in [27] at pp. 39 – 58. [67]. Gullick, M., ed. Pen in Hand. Medieval Scribal Portraits, Colophons and Tools

(Walkern, 2006). [68]. Gumbert, J. P. ‘Ruling by Rake and Board: notes on some medieval ruling

techniques’ in [58] at i, pp. 41 – 54. [69]. Gumbert, J. P. ‘The Speed of Scribes’ in [36] at pp. 57 – 69. [70]. Henry of Kirkestede, Catalogus de Libris Autenticis et Apocrifis, ed. R. H.

Rouse & M. A. Rouse [Corpus of British Medieval Library Catalogues, xi] (London, 2004).

[71]. Hindman, S. & Rowe N. ed. Manuscript Illumination in the Modern Age (Evanston, IL, 2001).


17

[72]. Jensen, K. ed. Incunabula and their Readers. Printing, Selling and Using Books in the Fifteenth Century (London, 2003).

[73]. Jones, L. W. “Pricking Manuscripts, the Instruments and their Significance”, Speculum, xxi (1946), pp. 389 – 403.

[74]. Kapr, A. Johann Gutenberg: the man and his invention (Aldershot, 1996). [75]. Ker, N. R. Books, Collectors and Libraries. Studies in the Medieval Heritage,

ed. A. G. Watson (London, [1985]). [76]. Ker, N. R. Pastedowns in Oxford Bindings [reprint, with addenda] (Oxford,

2004). [77]. Kren, T. & McKendrick S. ed. Illuminating the Renaissance: the triumph of

Flemish manuscript painting in Europe (London, 2003). [78]. Kwakkel, E. ‘A New Type of Book for a New Type of Reader: the emergence

of paper in vernacular book production’, The Library, 7th ser., iv (2003), pp. 219 – 248.

[79]. Lanoë, G. La reliure médiévale. Pour une description normalisée (Turnhout, 2008).

[80]. Leedham-Green, E. & Webber, T. ed. The Cambridge History of Libraries in Britain and Ireland, i (Cambridge, 2006).

[81]. Lemaire, J. Introduction à la codicologie (Louvain-la-Neuve, 1989). [82]. Lowry, M. Nicholas Jenson and the Rise of Venetian Publishing in Renaissance

Europe (Oxford, 1991). [83]. Lowry, M. The World of Aldus Manutius: business and scholarship in

Renaissance Venice (Oxford, 1979). [84]. Macchi, F. & L. Dizionario illustrato della legatura (Milan, 2002). [85]. Maniaci, M. Archeologia del manoscritto. Metodi, problemi, bibliografia

recente (Rome, 2002). [86]. Maniaci, M. Terminologia del libro manoscritto (Rome, 1996), with on-line

version: [168]. [87]. Manfredi, A. I Codici di Niccolò V [Studi e Testi, ccclix] (Città del Vaticano,

1994). [88]. Marks, P. J. M. The British Library Guide to Bookbinding (London, 1998). [89]. McKenzie, D. F. Bibliography and the Sociology of Texts (Cambridge, 1999). [90]. McKitterick, D. Print, Manuscript and the Search for Order, 1450 – 1830

(Cambridge, 2003). [91]. Miller, J. Books Will Speak Plain. A Handbook for Identifying and Describing

Historical Bindings (Ann Arbor, 2010). [92]. Morgan, N. & Thomson, R. ed. The Cambridge History of the Book in Britain,

ii (Cambridge, 2008). [93]. Murano, G. Opere diffuse per Exemplar e pecia (Turnhout, 2005). [94]. Muzerelle, D. Vocabulaire codicologique du français (Paris, 1985), with on-

line version: [168]. [95]. Myers, R. & Harris, M., ed. A Millennium of the Book: production, design and

illustration in manuscript and print 900 - 1900 (Winchester, 1994). [96]. Needham, P. ‘The Late Use of Incunables and the Paths of Book Survival’,

Wolfenbütteler Notizien zur Buchgeschichte, xxix (2004), pp. 35 – 59.


18

[97]. Newton, F. The Scriptorium and Library at Monte Cassino, 1058 – 1105 (Cambridge, 1999).

[98]. Nuovo, A. Il Commercio librario nell’Italia del Rinascimento, revised edition (Milano, 2003).

[99]. Panayotova, S. ed. The Cambridge Illuminations. The Conference Papers (London, [2005?]).

[100]. Parkes, M. B. The Medieval Manuscripts of Keble College, Oxford: a descriptive catalogue (London, 1979).

[101]. Parkes, M. B. ‘The Influence of the Concepts of Ordinatio and Compilatio on the Development of the Book’ in [5] at pp. 115 – 141.

[102]. Parkes, M. B. Pause and Effect. An Introduction to the History of Punctuation in the West (Aldershot, 1992).

[103]. Parkes, M. B. Their Hands before Our Eyes. A Closer Look at Scribes (Aldershot, 2008).

[104]. Parkes, M. B. & Watson, A. G. Medieval Scribes, Manuscripts and Libraries. Essays presented to N. R. Ker (London, 1978).

[105]. Pearson, D. Provenance research in book history (London, 1994 [reprinted with new introduction 1998]).

[106]. Pettegree, A. ‘Centre and Periphery in the European Book World’, Transactions of the Royal Historical Society, 6th ser., xviii (2008), pp. 101 – 28.

[107]. Pettegree, A. The Book in the Renaissance (New Haven, 2010). [108]. Petrucci, A. La descrizione del manoscritto: storia, problemi, modelli, 2nd

ed. (Roma, 2001). [109]. Petzold, A. ‘De coloribus et mixtionibus: the earliest manuscripts of a

Romanesque illuminator’s handbook’ in [27] at pp. 59 – 66. [110]. Pollard, G. ‘Describing Medieval Bookbindings’ in [5] at pp. 50 – 65. [111]. Pollard, G. ‘The pecia system in the medieval universities’ in [104] at pp.

145 – 61. [112]. Ramsay, N. ‘ “The Manuscripts flew about like Butterflies”: the break-up

of English libraries in the sixteenth century’ in [112] at pp. 125 – 144. [113]. Raven, J. Lost Libraries: the destruction of great book collections since

antiquity (London, 2004). [114]. Reed, R. The Nature and Making of Parchment (Leeds, 1975). [115]. Reynhout, L. Formules latines de colophons, 2 vols (Turnhout, 2006). [116]. Richardson, B. Manuscript Culture in Renaissance Italy (Cambridge,

2009). [117]. Rizzo, S. Il Lessico filologico degli umanisti (Roma, 1973). [118]. Rouse, R. H. & Rouse, M. A. Illiterati et uxorati. Manuscripts and their

Makers. Commercial Book Producers in Medieval Paris 1200 – 1500, 2 vols (Turnhout, 2000).

[119]. Rück, P. Pergament. Geschichte. Struktur. Restaurierung. Herstellung (Sigmaringen, 1991).

[120]. Rundle, D. ‘The scribe Thomas Candour and the making of Poggio Bracciolini’s English reputation’ in English Manuscript Studies 1100 – 1700, xii (2005), pp. 1 – 25.


19

[121]. Saenger, P. ‘The Impact of the Early Printed Page on the History of Reading’, Bulletin du bibliophile, ii (1996), pp. 237 – 301.

[122]. Saenger, P. & Van Kampen, K. ed. The Bible as Book. The First Printed Editions (London, 1999).

[123]. Scott, K. L. ‘Limning and book-producing terms and signs in situ in late-medieval English manuscripts: a first listing’ in [12].

[124]. Scott, K. L. ‘Representations of scribal activity in English manuscripts c. 1400 – c. 1490: a mirror of the craft?’ in [67] at pp. 115 – 149.

[125]. Sharpe, J. L., ed. Roger Powell. The Compleat Binder. Liber amicorum (Turnhout, 1996).

[126]. Sharpe, R. ‘Library catalogues and indexes’ in [92] at pp. 197 – 218. [127]. Sharpe, R. Titulus: identifying medieval Latin texts (Turnhout, 2003). [128]. Sherman, W. ‘On the threshold: architecture, paratext and early print

culture’ in [10] at pp. 67 – 81. [129]. Sherman, W. H. ‘ “Rather soiled by use”: attitudes towards readers’

marks’, Book Collector, lii (2003), pp. 471 – 90. [130]. Sherman, W. Used Books: marking readers in Renaissance England

(Philadelphia, 2007). [131]. Smith, M. M. ‘The design relationship between the manuscript and the

incunable’ in [95] at pp. 23 – 44. [132]. Smith, M. M. The Title-Page: its early development, 1460 – 1510

(London, 2000). [133]. Stoneman, W. ‘Private Collectors and Public Libraries’, Lyell Lectures,

Oxford, 2008 [as yet unpublished] [134]. Szirmai, J. A. The Archaeology of Medieval Bookbinding (Aldershot,

1999). [135]. Thomson, R. Manuscripts from St Albans Abbey 1066 – 1235, 2 vols

(Woodbridge, 1982). [136]. Thornton, D. The Scholar in his Study: ownership and experience in

Renaissance Italy (New Haven, 1997). [137]. Ullman, B. L. & Stadter, P. A. The Public Library of Renaissance

Florence (Padua, 1972). [138]. Vezin, J. ‘Observations sur l’emploi des réclames dans les manuscrits

latins’, Bibliothèque de l’école des chartes, cxxv (1967), pp. 5 – 33. [139]. Watson, A. G. Medieval Manuscripts in Post-Medieval England

(Aldershot, 2004). [140]. Williman, D. ‘Tracing Provenances by dictio probatoria’, Scriptorium, liii

(1999), pp. 124 – 145. [141]. Woudhuysen, H. R. Sir Philip Sidney and the circulation of manuscripts,

1558 – 1640 (Oxford, 1996). [142]. Zerdoun Bat-Yehouda, M. Les Encres noires au Moyen Âge (jusqu’à

1600) (Paris, 1983). [143]. Zerdoun Bat-Yehouda, M. ed. Le Papier au Moyen Âge: histoire et

techniques (Turnhout, 1999).


20

II: On-line scholarship

[144]. Bindings in the Riccardiana: http://www.riccardiana.firenze.sbn.it/main.php?Lang=IT (accessed 20th March 2010)

[145]. Briquet’s Les Filigranes (in progress): http://www.ksbm.oeaw.ac.at/_scripts/php/BR.php?IDtypes=37&lang=fr (accessed 4th April 2010)

[146]. British Library Catalogue of Illuminated Manuscripts: http://www.bl.uk/catalogues/illuminatedmanuscripts/welcome.htm (accessed 21st May 2010)

[147]. British Library Database of Book-bindings (in progress): http://www.bl.uk/catalogues/bookbindings/Default.aspx (accessed 18th May 2010)

[148]. Catalogue of Digitized Medieval Manuscripts, hosted by UCLA: http://manuscripts.cmrs.ucla.edu/index.php (accessed 21st May 2010)

[149]. Caxton’s Chaucer on-line: http://www.bl.uk/treasures/caxton/homepage.html (accessed 13th May 2010)

[150]. Clark’s Care of Books: http://www.archive.org/details/careofbooks00claruoft (accessed 31st May 2010)

[151]. Dawn of Western Printing: http://www.ndl.go.jp/incunabula/e/index.html (accessed 13th May 2010)

[152]. Digital Scriptorium: http://www.scriptorium.columbia.edu/ (accessed 21st May 2010)

[153]. Enluminures, the on-line collection of images of illuminations from French public libraries: http://www.enluminures.culture.fr/documentation/enlumine/fr/index3.html (accessed 21st May 2010)

[154]. Fabriano’s Museo della Carta e della Filigrana: http://www.museodellacarta.com/default.asp (accessed 13th May 2010)

[155]. Glossary for illuminated manuscripts, compiled by the British Library as a revised version of [26]: http://www.bl.uk/catalogues/illuminatedmanuscripts/glossary.asp (accessed 30th March 2010)

[156]. Gutenberg Bible, digitised by the British Library, with links to other projects: http://www.bl.uk/treasures/gutenberg/homepage.html (accessed 13th May 2010)

[157]. GW on-line: http://www.gesamtkatalogderwiegendrucke.de/ (accessed 13th May 2010)

[158]. Hypnerotomachia Poliphili, full text on-line: http://mitpress.mit.edu/e-books/HP/index.htm (accessed 13th May 2010)

[159]. In Principio, database of incipits available only by subscription at: http://www.brepolis.net/ (accessed 4th April 2010)

[160]. ISTC, the British Library Incunabula Short Title Catalogue: http://www.bl.uk/catalogues/istc/ (accessed 13th May 2010)


21

[161]. Manuscripta Mediaevalia, German national website for manuscript catalogues and digitised manuscripts: http://www.manuscripta-mediaevalia.de/handschriften-forum.htm (accessed 13th May 2010)

[162]. Melbourne University’s on-line palaeography course, Ductus: http://www.medieval.unimelb.edu.au/ductus/demo/engine/ductus/frames/ (accessed 13th May 2010)

[163]. National Library of The Netherlands’ Illuminated Manuscripts Catalogue: http://www.kb.nl/manuscripts/ (accessed 21st May 2010

[164]. ORB, the On-line Reference Book for Medieval Studies: http://www.the-orb.net/ (accessed 15th May 2010)

[165]. Parker Library, Corpus Christi College, Cambridge, on the web: http://parkerweb.stanford.edu/parker/actions/page.do?forward=home (accessed 25th May 2010)

[166]. Sharpe, R. ‘Le bibliothécaire médiéval et son héritage’, unpublished lecture given on 18th September 2003: http://www.history.ox.ac.uk/sharpe/bibliothecaire.pdf (accessed 31st May 2010)

[167]. Siân Echard’s listing of Medieval Manuscripts on the Web: http://faculty.arts.ubc.ca/sechard/512digms.htm (accessed 21st May 2010)

[168]. Vocabulaire Codicologique (with Italian, Spanish, and some English terms, as well as the French): http://vocabulaire.irht.cnrs.fr/vocab.htm (accessed 30th March 2010)

[169]. Wasserzeichen des Mittelalters, with links to other watermark websites: http://www.ksbm.oeaw.ac.at/wz/wzma.php (accessed 4th April 2010)

[170]. Watermarks in the Genovese Archives: http://www.labo.net/briquet/ (accessed 4th April 2010)

[171]. Watermarks in Incunabula printed in the Low Countries (WILC): http://www.kb.nl/bc/incun/watermerken-en.html (accessed 8th June 2010)

[172]. Watermarks in Incunabula printed in Spain (WIES): http://www.ksbm.oeaw.ac.at/wies/ (accessed 8th June 2010)

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