Showing posts with label Tree. Show all posts
Showing posts with label Tree. Show all posts

2018-10-01

Baum: An Early Family Tree

The search for the earliest use of "Baum" in German to describe a stemma continues. Currently the honour seems to reside with Heinrich Steinhöwel of Ulm who is thought to have used the term in his dedication of a book printed 1475 when introducing the following woodcut:


The male ancestor at the root, right, is designated Albrecht Hapsburg, landgrave of Alsace, Lord of Sassenburg. The main body of the book is a German translation of the Speculum Vitae Humanae of Rodrigo Sánchez de Arévalo (1404-1470). Steinhöwel's German title is Der Spiegel des Menschlichen Lebens.

It is online as BSB incunable 2 Inc.s.a. 1264 digitized here (seek image 18), also at the LOC and in Heidelberg. ISTC: ir00231000.

The text preceding the woodcut says: "darumb will ich ... alleyn desletszen hauses österreich auff wachssen eynen bom beczeichnen ale er hie ynne mit bilden ist geformieret. Und vince ds anfang von eynem lantgraffen aus dem Elses dessun in die graffschafft ze habspurg komen ist als dr in nachgenter geschrifft v[o]n in dem bom mit geleich-en büchstabben wirt ausgezeichnet. (That's why I wish to draw all of the latter house of Austria on a full-grown tree. Each is shown by pictures. And those counts of Hapsburg arising from this landgrave of Alsace are each marked in the tree with the same letter (of the alphabet) as is used in the subsequent list.)

This praise of the Hapsburgs is not part of the original Speculum Vitae Humanae itself (see the Latin version at Gallica), but an appeal for patronage from the Hapsburgs. Given that aristocrats were the principal customers for books in Steinhöwel's time, the genealogy was a crude but entirely normal attempt to secure sales.

No date or place of printing for the incunable is given, but it seems from the type-face to be settled that the printer was Günther Zainer of Augsburg, and that the year was most likely 1475. The translator's manuscript (which still exists) was completed March 19, 1474 and an entry in the genealogy on folio 10v mentions the baptism of Prince Maximilian in Augsburg "this Easter" on Maundy Thursday of 1475. It is to be assumed the printing was completed later that year. The book is overlooked by Klapisch-Zuber, who opens L'Ombre with a family tree of 1491 (see below), the earliest she could discover.

The book is prefaced by (1) a foreword and overview, (2) a dedication to Duke Siegmund of Tyrol, (3) a one-paragraph explanation of the family tree, (4) the full-page engraving, and (5) a tabular listing of the genealogy keyed to the sketch. (4) and (5) appear to be the work of Ladislaus Sunthaym (ca. 1440 – 1512).

Walther Borvitz is dismissive of (2) as fawning hack-work, which perhaps leads him to his peculiar view that (3) is a boiler-plate insertion originating with Sunthaym. Perplexingly, he refused to transcribe (3) in his edition (Archive.org) although it continues in the same first person (ich) as the paragraphs above and is almost certainly of a unity with them. It is hard to follow Borvitz's justification for this omission, since his contention that the text of (3) appears at col 1004 of Scriptores Rerum Austriacarum Veteres ac Genuini, vol 1, by Hieronymus Pez does not seem to be correct. The Latin text there is by Pez and makes no claim at all about the Steinhöwel book of 1475:
Harum Tabularum Clauftro Neoburgensium praecipuus Auctor est Ladislaus Sunthaim seu Sundheimius, Ravensburgio Sueviæ oppido oriundus, Dioecesis Constantiensis Presbyter. Quod mirum est in laudatarum Tabularum editione fuisse dissimulatum: cum in MS Claustro-Neoburgensi quod nos coram inspeximus, diserte Sunthaimii nomen, patria conditioque habeantur. Porro eas Sunthaimius condidit sub annum 1491, quo ipso Basileæ typis excusæ fuerunt in majori forma, quam vocant. Ad cuius editionis fidem & hanc nostram adornavimus, cum sæpe memoratæ Tabulæ manuscriptae vix commodum Mellicium perferri potuerint, & nos, dum in lustranda Claustro-Neoburgensi Bibliotheca versaremur, ab ipsis integris describendis angustia temporis exclusi fuerimus. In vulgatis Tabulis ad calcem, Reverendissimus Dominus Jacobus Praepositus Clastro-Neoburgensis ad eas concinnandas symbolam contulisse memoratur, qui ab anno 1485 usque ad annum 1509 Claustro-Neoburgensem praefecturam gessisse dicitur apud Adamum Scharrerum in Vita S. Leopoldi Auftriæ Marchionis. Cæterum Ladislaus Sunthaimius is præterea fuit, qui Historiam de Guelfis sub annum 1511 composuit, quam ex Caesarea Bibliotheca fecum communicatam Cl. Leibnitius Tom. I Script. Brunswic. a pag 800 ad pag 806 publico exposuit. Ex qua etiam intelligimus, Sunthaimium postea Viennensis Canonici dignitate fuissse auctum. Sed de his fatis. En ipsas Tabulas Claustro Neoburgenses.
There is thus no reason to attribute (3) to Sunthaym, and every good reason to regard Steinhöwel as the writer who chose the word "bom". Barbara Weinmayer offers a very different perspective on the section (3), seeing the dedication as a valuable source of Steinhöwel's genuine views about the science of translation, although she makes no comment on the content of our disputed final paragraph (3) and its bom.

For the time being it seems best to leave the authorship of (3) with Steinhöwel. Perhaps an expert on Renaissance German style could ponder the issue.

The woodcut employed at Basel in or after 1491 for the printing of Der löblichen Fürsten und des Landes Österreich Altherkommen und Regierung (full text on Wikisource) of Sunthaym is not the same as this one, though it is similar. Sunthaym is often treated in the literature as father of the royal "tree", but it would seem that the "tree" was already part of the vocabulary of man one generation older.

Borvitz, Walther. Die Übersetzungstechnik Heinrich Steinhöwels: dargestellt auf Grund seiner Verdeutschung des ‘Speculum vitae humanae’. Hermaea 13. Halle: Niemeyer, 1914.
Dicke, Gerd. ‘Steinhöwel, Heinrich’. Die deutsche Literatur des Mittelalters. Verfasserlexikon, 1995. vol 9, cols 269ff. http://www.mgh-bibliothek.de/cgi-bin/mgh/allegro.pl?db=opac.
Klapisch-Zuber, Christiane. L’ombre des ancêtres. Paris: Fayard, 2000.
Weinmayer, Barbara. Studien zur Gebrauchssituation früher deutscher Druckprosa. Literarische Öffentlichkeit in Vorreden zu Augsburger Frühdrucken. Munich: Artemis, 1982.

2017-09-16

Old Trees

Early tree diagrams are some of the surprises in the latest batch of Vatican digitizations. One welcome arrival online is a 10th-century text of the Lex Romana Visigothorum with two elaborate kinship scheme diagrams at 20v and 21r. This has now been issued in color, after only a black and white scan had been online at the Vatican Library portal.

You'll notice this looks a bit like a Flemish building facade, not a tree. A full list of contents of this codex, Reg.lat.1048, from the Cologne Leges Database:
  • 1 - 19: Isidore, Etymologiae
  • 20 - 21r: Stemmata graduum
  • 21v - 224r: Lex Romana Visigothorum with younger explanationes titulorum and younger glosses
  • 224r - Series regum Francorum, Formula extravagans I No. 5, glossary in three languages
The table above had come to be called an arbor juris, a law diagram, so it was not long before the decoration began to become treelike, perhaps as a mnemonic aid to students. The completely new releases at DigiVatLib include a law book, the Decretum of Burchard of Worms, which takes the tree idea further, indicating the change in progress. Reg.lat.979 is one of the earliest codices ever to associate a tree with a table of consanguinity. Note how the Reg.lat.979 drawing below, dated about 1080, does not yet put the table in the tree. The tree simply takes root on the roof like a cheeky weed:
Here is the full list of new releases (I am reporting occasional the black and white conversions to color, but am not able to track these systematically):
  1. Chig.I.V.152, a fine Renaissance edition of Aristotle's Rhetorica translated to Latin by George of Trebizond
  2. Ferr.409, another, less lavishly executed copy of the same text, HT to @LatinAristotle
  3. Reg.lat.149, copyist Nicolò de' Ricci
  4. Reg.lat.153, sturdy old breviary with liturgical calendar, litanies, etc.
  5. Reg.lat.184
  6. Reg.lat.647, hagiography,
  7. Reg.lat.896
  8. Reg.lat.946, Gesta Francorum
  9. Reg.lat.979, Decretum of Burchard of Worms (above)
  10. Reg.lat.1034
  11. Reg.lat.1038
  12. Reg.lat.1045
  13. Reg.lat.1058
  14. Reg.lat.1059
  15. Reg.lat.1060
  16. Reg.lat.1063
  17. Reg.lat.1064
  18. Reg.lat.1068, Plato: Calcidius' translation of the Timaeus, HT to @LatinAristotle
  19. Reg.lat.1073
  20. Reg.lat.1075
  21. Reg.lat.1077
  22. Reg.lat.1086
  23. Reg.lat.1087
  24. Reg.lat.1088
  25. Reg.lat.1089
  26. Reg.lat.1093
  27. Reg.lat.1091
  28. Reg.lat.1100
  29. Reg.lat.1114, yet another Calcidius' translation of the Timaeus of Plato, HT to @LatinAristotle
  30. Reg.lat.1134
  31. Reg.lat.1141
  32. Reg.lat.1142
  33. Reg.lat.1151 the Physiognomia of Pseudo-Aristotle, translated to Latin by Bartholomew of Messina in the 13th century, HT to @LatinAristotle, who also points to a new edition and survey by Lisa Devriese, plus earlier work.
  34. Reg.lat.1154
  35. Reg.lat.1155
  36. Reg.lat.1163
  37. Reg.lat.1166
  38. Reg.lat.1167
  39. Reg.lat.1168
  40. Reg.lat.1169
  41. Reg.lat.1172
  42. Reg.lat.1175
  43. Reg.lat.1178
  44. Reg.lat.1181
  45. Reg.lat.1183
  46. Reg.lat.1193
  47. Reg.lat.1210
  48. Reg.lat.1225
  49. Reg.lat.1229
  50. Reg.lat.1244
  51. Reg.lat.1250
  52. Reg.lat.1251
  53. Reg.lat.1256
  54. Vat.gr.334, Byzantine
  55. Vat.lat.1303
  56. Vat.lat.1844
  57. Vat.lat.1863
  58. Vat.lat.1908
  59. Vat.lat.1923
  60. Vat.lat.1947
  61. Vat.lat.1983
  62. Vat.lat.1979
  63. Vat.lat.1989
  64. Vat.lat.1990
  65. Vat.lat.2003
  66. Vat.lat.2008
  67. Vat.lat.2012
  68. Vat.lat.2015
  69. Vat.lat.2016
  70. Vat.lat.2017
  71. Vat.lat.2020
  72. Vat.lat.2031
  73. Vat.lat.7697, Bindo da Siena, sermons
  74. Vat.lat.15204, a collection of fragments, including 3r-v, 4r-v: Canonum collectio "Concordia canonum"; 5r-v Gregorius Magnus, Homiliae in Evangelia (28.2–3) from the 7th or 8th century.
    The latter item, ELMSS number 2194, was found in the binding of a book printed 1498 at the Aldine press in Venice:
    Plus a 9th-century fragment of the Lex Ribuaria. My eye was also caught by the elaborate green cross below (folio 27v) where you can read the words Sancti Evagrii horizontally and De virtute animi vertically.
This is Piggin's Unofficial List number 127. If you have corrections or additions, please use the comments box below. Follow me on Twitter (@JBPiggin) for news of more additions to DigiVatLib.

2017-06-30

A "Tree" of Genealogy

The quest for the first "family tree" has been one of my scholarly interests for years. Readers of this blog will know by now that stemmata, ramifying diagrams with ancestors at the top, were invented in antiquity (provedly before 427 CE). The inversion of those diagrams into family trees with ancestors as the roots and their descendants as boughs and leaves was a slow transformation that took well over a thousand years.

One of the most interesting way-stations in that process is the invention of the term "family tree," where "tree" in its medieval sense simply meant a diagram that could be scaled up at will (just as a tree or a crystal grows) without specifically denoting that the diagram must visually resemble a natural tree.

Christine Klapisch-Zuber in her major work, L'Ombre des Ancêtres, fixes the first fusion of "genealogical" and "tree" in Latin in 1312 by Bernard Gui, a Dominican inquisitor and bishop in the south of France, who wrote a history of the French kings.That means that in the latest wave of Vatican digitizations, special interest attaches to a 1369 translation of this work into French by Jean Golein.

This forms the second part of the codex Reg.lat.697, which can now be consulted online. La Généalogie des Roys de France commences at folio CXIIr. Note the flowers and tendrils which indicate that the idea of arbre is already playing on the minds of the artists. As one sees in the example below, the main line of kings is at centre-page, descending page by page through the book, and little roundel-link stemmata of each king's non-monarchical relatives are set off to one side.


This is not Golein's autograph of course. That, according to Delisle, is in the parliamentary library in Paris. The first part of the Vatican codex contains Golein's French rendering of the Flores chronicorum, also by Bernard Gui, which is a history since the time of Jesus of the popes and Roman emperors. Reg.lat.697 is wonderfully illuminated and offers us this notable conclave of cardinals:



The full list of digitizations this week (lacking 25 extra items that slipped online on Friday morning as I was finishing) follows:
  1. Borg.copt.67,
  2. Borg.sir.16,
  3. Chig.C.VIII.230, with fine initials and miniatures including this Annunciation (though I could have sworn this angel has a horn!)
  4. Ott.lat.1302,
  5. Reg.lat.652,
  6. Reg.lat.653,
  7. Reg.lat.654,
  8. Reg.lat.659,
  9. Reg.lat.660,
  10. Reg.lat.664,
  11. Reg.lat.676,
  12. Reg.lat.678,
  13. Reg.lat.691,
  14. Reg.lat.697, translation into French by Jean Golein of the Flores chronicorum of Bernard Gui (above)
  15. Reg.lat.707,
  16. Reg.lat.709,
  17. Reg.lat.725,
  18. Reg.lat.731,
  19. Reg.lat.735,
  20. Reg.lat.737,
  21. Reg.lat.740,
  22. Reg.lat.746,
  23. Reg.lat.759,
  24. Reg.lat.761,
  25. Reg.lat.766,
  26. Reg.lat.770,
  27. Reg.lat.803,
  28. Reg.lat.864,
  29. Reg.lat.880,
  30. Reg.lat.882,
  31. Reg.lat.888,
  32. Reg.lat.891,
  33. Reg.lat.913,
  34. Reg.lat.935, Reuilion
  35. Sbath.251,
  36. Urb.lat.843.pt.1,
  37. Urb.lat.843.pt.2,
  38. Vat.gr.1312.pt.1,
  39. Vat.gr.1312.pt.2,
  40. Vat.lat.1299, Expositio in Iohannem, anon.
  41. Vat.lat.1302,
  42. Vat.lat.1310,
  43. Vat.lat.1317,
  44. Vat.lat.1325,
  45. Vat.lat.1382, Bottoni, Glossa Ordinaria, with some fine arbor juris diagrams, one of which has this interesting detail in the bottom panel:  
  46. Vat.lat.1384,
  47. Vat.lat.1389,
  48. Vat.lat.1430,
  49. Vat.lat.1436,
  50. Vat.lat.1445,
  51. Vat.lat.1451,
  52. Vat.lat.1453,
  53. Vat.lat.1455,
  54. Vat.lat.1481, Priscian
  55. Vat.lat.1483, Priscian
  56. Vat.lat.1543, Macrobius
  57. Vat.lat.1547, Macrobius, commentary on Dream of Scipio
  58. Vat.lat.1567, Homer, Iliad, in Lorenzo Valla translation to Latin
  59. Vat.lat.1587, Horace, works, 12th century
  60. Vat.lat.1591, Horace, poetry
  61. Vat.lat.1599, Ovid
  62. Vat.lat.1604, Ovid, Fasti, 12th century
  63. Vat.lat.1605, Ovid, 15C
  64. Vat.lat.1618, Statius, Achilleidis
  65. Vat.lat.1623, Lucan, Civil Wars
  66. Vat.lat.1642, Seneca, tragedies
  67. Vat.lat.1643, Seneca, tragedies
  68. Vat.lat.1654,
  69. Vat.lat.1681, Boninius Mombrizio
  70. Vat.lat.1687, Cicero, letters
  71. Vat.lat.1690, Cicero, letters, dated 1462
  72. Vat.lat.1692, Cicero, letters, 15C
  73. Vat.lat.1693, Cicero, rhetorical works
  74. Vat.lat.1702, Cicero, rhetorical works
  75. Vat.lat.1712, Cicero, rhetorical works
  76. Vat.lat.1714, Ad Herennium
  77. Vat.lat.1718, Ad Herennium
  78. Vat.lat.1724, Cicero, De finibus bonorum et malorum
  79. Vat.lat.1726, Cicero, De finibus bonorum et malorum
  80. Vat.lat.1727, Cicero, De finibus bonorum et malorum
  81. Vat.lat.1728, Cicero, Tusculan Disputations
  82. Vat.lat.1733, Cicero, Tusculan Disputations
  83. Vat.lat.1734, Cicero, De Officiis
  84. Vat.lat.1739, Cicero, philosophy
  85. Vat.lat.1740, Cicero, philosophy
  86. Vat.lat.1741, Cicero, Scipio's Dream, plus anonymous works bound in back
  87. Vat.lat.1744, Cicero, speeches
  88. Vat.lat.1745, Cicero, speeches
  89. Vat.lat.1748, Cicero, speeches
  90. Vat.lat.1751, Cicero, speeches, dated 1452
  91. Vat.lat.1753, Cicero, speeches
  92. Vat.lat.1755, Cicero, speeches
  93. Vat.lat.1756, Cicero, speeches
  94. Vat.lat.1758, Cicero, philosophical works, 15C
  95. Vat.lat.1759, Cicero, philosophical works, 15C
  96. Vat.lat.1760, Cicero On Laws, Plutarch Lives in Brutus translation
  97. Vat.lat.1761, Quintilian
  98. Vat.lat.1763, Quintilian
  99. Vat.lat.1764, Quintilian
  100. Vat.lat.1765, Quintilian
  101. Vat.lat.1768, Quintilian
  102. Vat.lat.1771, Quintilian speeches, dated 1459
  103. Vat.lat.1774, Quintilian speeches, dated 1455
  104. Vat.lat.1776, Latin panegyrics
  105. Vat.lat.1777, Pliny the Younger, Letters, 15C
  106. Vat.lat.1779, Josephus in Rufinus Latin translation
  107. Vat.lat.1782, Phalaridis et Bruti epistulae
  108. Vat.lat.1784, Poggio Braccolini: De varietate fortunae (On the Vicissitudes of Fortune, 1447)
  109. Vat.lat.1786, Aeneas Silvius Piccolomini (Pius II), many key writings
  110. Vat.lat.1789, Epistulae 1-119 of Marsilio Ficino, as later published - Rome Reborn
  111. Vat.lat.1799, Thucydides, Peloponnesian Wars, Lorenz Valla's Latin translation; dated 1452
  112. Vat.lat.1800, ditto
  113. Vat.lat.1810, Polybius, 15C
  114. Vat.lat.1826,
  115. Vat.lat.1829, Aulus Hirtius, Caesar's Commentaries on the Gallic War, 15C
  116. Vat.lat.6719,
  117. Vat.lat.13619,
  118. Vat.lat.14749,

This is Piggin's Unofficial List number 119. If you have corrections or additions, please use the comments box below. Follow me on Twitter (@JBPiggin) for news of more additions to DigiVatLib.

Delisle, L. "Notice sur les manuscrits de Bernard Gui," in Notices et extraits des manuscrits de la Bibliothèque nationale et autres bibliothèques, XXVII, 2 (1879), 169-455. https://archive.org/
Klapisch-Zuber, Christiane. L’ombre des ancêtres. Paris: Fayard, 2000.

2015-12-05

Stemmata in Incunables

What I have been looking at in recent weeks is how early printers coped with the idea of a stemma without drawing a tree. The period I am looking at is that of the so-called incunables, books printed before 1500, and I should stress that I am not concerned here with fanciful treelike art like that of Hartmann Schedel (as in the previous post) but with the pure stemmata.

The simplest approach in this period was to cut a pre-existing graphic as a woodblock, which is what the author and publisher did in Die Cronica van der hilliger Stat va[n] Coelle[n] (The Chronicle of the Holy City of Cologne, 1499, ISTC ic00476000 GW 6688). Here, each name is placed in a rectangular clipeus with curvilinear connectors.


A copy of this little book printed in Cologne has been digitized by the HAB. Although headed "Der Stam ind Ursprunck der Herzogen von Sassen", the graphic is in fact nothing more than a new version of the 1043 stemma by Siegfried of Gorze, which had been drawn to argue (in vain) the irregularity of Emperor Heinrich marrying Agnes of Poitou and was endlessly repurposed for the next five centuries:

The same book contains an adaptation of the Stemma of Cunigunde of similar age. These woodcuts are innovative in form, but do not advance diagrammatic technology in any essential way.

Strictly traditional stemmata could also be cut in wood, as in the 1475 Rudimentum Novitiorum where the roundel form is made chainlike:

The long-familiar pattern of roundels is set up as a block in this Seleucid genealogy in a 1498 edition from Basle of Nicholas of Lyra, once again imitating forerunners in the manuscripts, but with the change in this printing that the connecting lines are almost as wide as the roundels:

Slightly out of period is a 1511 Paris-printed Boccaccio Genealogy of the Gods (John Rylands Library copy), where the fanciful leaf-work of the Boccaccio autograph manuscript (1363-66) is dispensed with and roundels and little scrolls are used:
Much more creative and innovative is the early effort by the printers to build stemmata out of punch-cut type. These experiments had to be adapted to the type-form, the printing frame in which every element had to be rectangular so the form could be fitted and wedged before going to press.

The Chronica Bossiana printed by Zarotto at Milan (or Parma) in 1492 (ISTC ib01040000 GW 4952) has an extraordinarily modern-looking stemma which employs rectangles and straight connecting lines:


For a while I found it hard to believe this Genealogy of the Visconti was truly made this way, back in 1492. It would look absolutely at home in a modern PowerPoint presentation, and apart from the Latin and the typeface, it could grace any modern digitally composed book without anyone suspecting its age.

The Italian printer produced it in red ink in a book that otherwise is in black (in my plot, the print should therefore properly be red too) and pasted it in the front. Scrutiny suggests this may not be xylographic like the Cologne stemma above, but a composed typographic page using rules, though I am not expert enough to judge how these boxes and connecting lines could have been set up.

The author of this world chronicle, Donato Bossi (biography in Italian), paid for the printing, so he may well have had a hand in the design. You can inspect the page as printed and zoom in by consulting the Chronica Bossiana copy at the HAB. The University of Cambridge has another copy which is not digitized, but is carefully described, and I will quote that description:
[Genealogical tree of the Visconti family], caption "Geneologia uicecomitum Principum Mediolani descendentium de Inuorio Ducatus Mediolani", 1v; Donatus Bossius. Chronica, dedicated to Johannes Galeatius Sforza, duke of Milan.

Later, printers were to develop other options, such as using blank space to build a stemma. The table of figures of speech by Georg Major printed as a preface to Philipp Melanchthon's De arte dicendi at Leipzig in 1528 (and also at Paris in 1529, digitized at HAB), contains a stemma with no connecting lines at all:

But as far as I can tell at first sight, these minimalist stemmatic arrays are not yet found in pre-1500 printing.

2015-12-01

Jesus in a Nutshell

One of the peculiarities of 15th-century tree diagrams is that the humans are often shown as half-figures emerging from a kind of nutshell. Possibly this is a stylized nest. These show up in manuscripts and then appear in early printed books where the art continues in the same fashion.

There is a remarkable instance of this in Urb.lat.300 which is the among the manuscripts uploaded Dec 1 to Digita Vaticana. This is a manuscript of the Fons memorabilium universali of Domenico Bandini d'Arezzo (c. 1335-1418), for which the catalog gives the additional title De viris claris Lexicon. It was likely copied thus during the author's lifetime.

This has a most unusual table of contents at the front which shows Christ growing out of a hexagonal fountain, with the book's topics listed in roundels at the end of branches. It is discussed in Hermann Schadt's Arbores, p 335, the reference for which you will find in a previous blog post.

This short of thing is familiar from the Hartmann Schedel Liber Chronicarum of 1493, as in this hand-coloured copy in Munich showing Mizraim, his wife and their son Ludim:

Christiane Klapisch-Zuber (L'Ombre, p 297) terms this object a corolla. These motifs in fact have a medieval past. For example, the Dialogus de laudibus sanctae crucis at Munich (BSB, clm 14159) contains a similar treatment of Isaac as a bust in a graphic that is a kind of at-a-glance diagram of how the Old Testament is organized and its themes:


The December 1 uploads bring the posted total on Digita Vaticana to 3,361. Here is the full list, and once again I will not describe the Pal.lat. releases here, as it is likely most of them have been online before today in Heidelberg, since Rome and the German library have partnered to digitize them.
  1. Arch.Cap.S.Pietro.D.197, Nicholas of Lyra, Postillae
  2. Barb.lat.3935, a 14th/15th century Dante
  3. Barb.lat.3954, Petrarch
  4. Borg.copt.109.cass.XIV.fasc.44,
  5. Borg.copt.109.cass.XIV.fasc.45,
  6. Borg.copt.109.cass.XIV.fasc.47,
  7. Borg.copt.109.cass.XIV.fasc.48,
  8. Borg.copt.109.cass.XIV.fasc.49,
  9. Borg.copt.109.cass.XV.fasc.50,
  10. Borg.copt.109.cass.XV.fasc.51,
  11. Borg.copt.109.cass.XV.fasc.52,
  12. Borg.copt.109.cass.XV.fasc.54,
  13. Borg.copt.109.cass.XV.fasc.55,
  14. Borgh.183, Book of Hours with this hair-raising visitation of death wielding a club:
  15. Cappon.199,
  16. Cappon.252.pt.B,
  17. Cappon.318,
  18. Pal.lat.537,
  19. Pal.lat.771,
  20. Pal.lat.818,
  21. Pal.lat.835,
  22. Pal.lat.884,
  23. Pal.lat.896,
  24. Pal.lat.904,
  25. Pal.lat.908,
  26. Pal.lat.911,
  27. Pal.lat.914,
  28. Pal.lat.916,
  29. Pal.lat.922,
  30. Pal.lat.924,
  31. Pal.lat.925,
  32. Pal.lat.934,
  33. Pal.lat.935,
  34. Pal.lat.936,
  35. Pal.lat.937,
  36. Pal.lat.938,
  37. Pal.lat.950,
  38. Pal.lat.951,
  39. Pal.lat.1015,
  40. Patetta.685,
  41. Urb.lat.11, Gefroi de Pinkegni, commentarii in Evangelia etc. In French. Important supplementary source of Occitan version of bible. See Samuel Berger. This codex is celebrated for its copious miniatures by Neri da Rimini (c.1270 - c.1330), including this Three Kings with the Infant Jesus on 13v:
  42. Urb.lat.16, Nicholas of Lyra, Postillae on Psalms, Job, Minor Prophets
  43. Urb.lat.17, Nicholas of Lyra, Postillae
  44. Urb.lat.27, Thomas Aquinas on Gospel of Matthew
  45. Urb.lat.56,
  46. Urb.lat.76,
  47. Urb.lat.85,
  48. Urb.lat.101, Bede and Anselm
  49. Urb.lat.123, Alexander of Ales OFM
  50. Urb.lat.161,
  51. Urb.lat.165,
  52. Urb.lat.180, Burkhard of Worms, legal
  53. Urb.lat.182, Aristotle's Historia animalium, De partibus animalium, De generatione animalium, all penned in Florence in about 1470. Anthony Grafton's Rome Reborn catalogue noted of this codex: Pope Nicholas V was a patron of the translation of ancient scientific works from Greek into Latin. New translations of Aristotle's books on animals, which describe over five hundred different species and are the principal ancient works on the subject, played an important part in this pope's intellectual program. George Trebizond's translation was commissioned by Nicholas V. Its details are listed in the St Louis catalog. Later noticed by @LatinAristotle.
  54. Urb.lat.251,
  55. Urb.lat.253,
  56. Urb.lat.277,
  57. Urb.lat.282,
  58. Urb.lat.291,
  59. Urb.lat.299,
  60. Urb.lat.300, manuscript of the Fons memorabilium universali of Domenico Bandini d'Arezzo (above).
  61. Urb.lat.307, Nonius Marcellus, Paul the Deacon
  62. Urb.lat.309, Aulius Gelius, Attic Nights, 15th-century copy
  63. Urb.lat.313, Cicero, Epistolarum ad familiares
  64. Urb.lat.314, panegyrics by Pliny and others
  65. Urb.lat.317, Asconius on Cicero
  66. Urb.lat.323, Cicero, 15th century
  67. Urb.lat.329, Martianus Capella, De nuptiis Philologiae et Mercurii, 15th-century copy including this fine drawing at fol. 139v and figural miniatures:
  68. Urb.lat.336, Libanius, letters etc, 15th-century copy
  69. Urb.lat.374,
  70. Vat.ar.13,
  71. Vat.gr.802,
  72. Vat.gr.1135,
  73. Vat.lat.127, commentary on Mark and Luke
  74. Vat.lat.239, Eusebius, Ecclesiastical History, 15th century copy
  75. Vat.lat.275, Ambrose on Psalms
  76. Vat.lat.298, Basil the Great and Cyril of Alexandria
  77. Vat.lat.354, a collection of 123 of Jerome's letters, 11th century
  78. Vat.lat.355, volume 1 of a 9th or 10th century manuscript in Beneventan script of the above. Important in the history of collecting the correspondence of Jerome of Stridon. The second volume, Vat.lat.356, is not yet online. Though there are about 7,000 manuscripts with Jerome letters, Andrew Cain says it took till the 9th century to assemble them all, so this codex dates back to that compilation period.
If you can add further details use the comments box or write me a tweet mentioning @JBPiggin. [This is Piggin's Unofficial List 32.]

2015-11-11

Erlangen Tree

Until recently, a celebrated 12th-century manuscript, variously known as the Chronicle of Frutolf or the Chronicle of Ekkehard of Aura (Erlangen, Universitätsbibliothek, ms 406), was not to be found online. On November 7, German archives blogger Klaus Graf published the news on his site of its arrival and within a matter of hours, my Twitter colleague Pierre Chambert-Protat (@chaprot) went online to alert me to it. Digital social media are a wonderful boon to scholarship.

On November 4, I had published on this blog a schematic outline of a "tree" at folio 204v of the selfsame manuscript. This is a plot, which I originally prepared for my own book but later decided not to use:

This figure, drawn in 1140 or thereabouts, is adapted from the century-old Stemma of Cunigunde, a drawing made in or shortly after 1013 when Cunigunde was anointed Holy Roman Empress. You can examine a reconstruction of that stemma on my website.

What does it show? The most important person here is R - Charlemagne - whose empire was divided among three of his grandsons by the Treaty of Verdun.

To enhance the chronicle, Ekkehard (or his predecessor editor Frutolf) repurposed the old diagram as a study in saintly ancestry by adding to it images of Arnulph and his holy mother Begga. Other manuscripts of the Ekkehard Chronicle present the Stemma of Cunigunde more or less faithfully, but the scribe-artist of the Erlangen codex decided to have some fun with it. He inverted it, and drew the figure of Arnulph at the left and Arnulph's saintly mother Begga at right. The bottom roundel (A in my plot) represents Arnulph.

Curiously, this artist omitted Cunigunde, although she had been the motive for creating the original drawing and she was revered in the entire Bamberg area, where this miniature was almost certainly made, as a holy figure and foundress of the cathedral. One must at least consider the possibility that the stemma was inverted in order to conceal her deliberate exclusion.

You can now enjoy the original at fol. 204v of the digital surrogate: 

What change in medieval culture had made this startling inversion of the stemma not just possible, but acceptable to the customer, probably the Cistercian Monastery of Heilsbronn in Germany which became the long-term owner of this codex? Is this quirky conversion on an artist's desk the precise moment when the family tree, later to become a prestigious badge of nobility, was invented?

As with all big questions, the answer is not a simple one. A long inquiry was conducted into these issues by Christiane Klapisch-Zuber. As a historian of Renaissance culture, she was curious about the roots of the craze from the 15th to the 19th centuries to depict European aristocratic genealogies by painting vast leafy trees where portraits of ancestors were pinned to a trunk and out onto the boughs. 

Researching her 2000 book, L'Ombre des Ancêtres, she cast far back into the medieval period, seeking precursors to those trees. This Heilsbronn tree of the late 12th century, as well as a couple of other painted trees made at roughly the same time at Weingarten, a monastery in the southwest of Germany, only dimly foreshadow the Renaissance craze. 

The Weingarten artist, working between the years 1185 and 1191, drew a leafy inverted stemma of the powerful Welf family with its most ancient known ancestor peeking out from inside the trunk at ground level, while a wide space was reserved in the crown of the foliage to be occupied by the Welfs' most illustrious offspring (by female descent), King Frederick Barbarossa. This is in Fulda, 100 D.11, folio 13v and is online. The other from Weingarten is now lost but an image of the tree was published by its owner, the collector and dealer Robert Forrer, in 1907. Unfortunately that book is not yet online. In Europe, it does not enter the public domain until 2018.

Klapisch-Zuber came, in effect, to the conclusion that it would involve an anachronism to call these drawings family trees or Stammbäume. There was no firm mental association between trees and the specific idea of ancestry yet.

The cultural change that took place in the 12th century with the rise of Gothic art was in fact much broader. Trees enjoyed a wide variety of uses in the graphic arts, ranging from trees of sevens as mnemonic devices to the tree manifestations of the Virga Jesse motif. Gothic cathedrals are in a certain sense trees of stone. This was what drove the experiments at Heilsbronn and Weingarten.

As I have already pointed out, inverted stemmata made to resemble trees with roots in soil are a rarity before the 16th century. It was 16th-century scholars like Scipione Ammirato who deserve the credit as the true originators of the family tree, not the medieval artists who created trees of ancestry more or less by fluke.

Forrer, Robert, ed. Unedierte Miniaturen, Federzeichnungen u. Initialen des Mittelalters. Strasbourg: Elsässische Druckerei, 1907.
Klapisch-Zuber, Christiane. L’ombre Des Ancêtres. Paris: Fayard, 2000.

2015-11-03

Oldest Family Tree

As part of my book research, I am searching for the oldest family tree. Some time in the 16th century, the idea of dressing up the genealogies of royal and noble families to look like oak trees took hold in Europe. These were printed from copper engravings and could be distributed to regional leaderships as a kind of corporate branding and loyalty-building exercise.

As an entrepreneurial venture, this could be profitable. Scipione Ammirato, the Italian writer and historian, set up a workshop in Florence and turned out a whole series of them in cooperation with artist-engravers (Congedo, 216). On spec, he sent a family tree of Henry III to the French royal court. He received a reward of 500 gold ducats from Paris for it (Congedo, 274).

The oldest of Ammirato's trees is probably that of the Hapsburgs of Austria, engraved in 1576. It shows the tree on a high hill over a bay (probably representing Trieste) where a great naval fleet rides at anchor. The original copper plate still exists in Florence, according to the Italian register of cultural heritage, though it is not stated who owns it. An original print from it was sold by the antiquarian bookseller Gonnelli a few years ago as part of a set for 300 euros:

The type continues with Ammirato's 1580 book Delle Famiglie Nobili Napoletane. which contains eight double-page and five single-page engraved illustrations of genealogical trees. Each contains some kind of landscape in the background that can be connected with the dynasty. Here is my plot of part of the tree of Marzani, who were big shots in the Spanish-ruled Kingdom of Naples, from that book:
Now I must hasten to say that what I am looking for here is the earliest example of a thing named "family tree" or "albero genealogico" or "Stammbaum" or "arbre de famille".

We know from the great study by Christiane Klapisch-Zuber that these things had unwitting precursors in previous centuries. There were even 12th-century artists who took pre-existing stemmata and flipped them upside down to depict them as trees. A celebrated example, now at Erlangen (Universitätsbibliothek ms 406, fol. 204v), is found in one of the manuscripts of the Chronicle of Ekkehard of Aura:
But these were experiments or flukes, not genealogical trees as a general cultural phenomenon.

The conscious idea of presenting a complete family line connected by a woody trunk first shows up in southern German woodcuts in the late 15th century. [Later note: Dr Volker Bauer (see below) has kindly pointed out a magnificent early example in BSB incunable 2 Inc.s.a. 1264 from 1475-78 digitized here (seek image 18) and also at the LOC. There is also a most remarkable tree of heraldic arms in the 1492 Cronecken der Sassen, GW 4963.] This phenomenon reaches its finest flower in the Ehrenpforte engraved in 1515 by Albrecht Dürer (there's a fine reconstruction of this on Virtuelles Kupferstichkabinett). But Dürer's has no branches.

The tree as a recognizable category of art, a product where artist and customer know what to expect, only shows up later in the sixteenth century. It looks semi-natural, has a bottom root and clearly tiered generations. The oldest example I can find is Robert Peril's 1535 tree of the Hapsburgs made at Antwerp (lower half online: Boijmans Collection).

Examples later than Ammirato's include a fine 1586 tree of the Kings of Saxony by Lorenz Faust which is labelled "Stammbaum," perhaps the first documented use of that word in the German language (the link is to the MDZ in Munich). [Later: Note however a 1515 illustration title "Bawm vnnd Außlegung der Sypschafft ..." here.] The type's later development in Germany and embrace of tree shapes other than oaks has been researched by Volker Bauer of the Herzog August Bibliothek.

But I cannot find any trees of living families from the first third of the 16th century. Has anyone got suggestions?

Ammirato, Scipione. Delle Famiglie Nobili Napoletane. Firenze: Appresso Giorgio Marescotti, 1580. https://archive.org/details/gri_33125013895186.
Bauer, Volker. “Attesting to Dynasty: The Use of Images in Early Modern German Genealogy.” Rome, 2013. http://crhipa.upmf-grenoble.fr/wp-content/uploads/2015/04/Bauer.pdf.
———. “Dynastic Botany: Banyans, Cedars, and Palms as Visual Models in Seventeenth-Century Genealogy.” In Visual-Acuity-and-the-Arts-of-Communication-in-Early-Modern-Germany, edited by Jeffrey Chipps Smith. Ashgate, 2014. https://www.ashgate.com/pdf/SamplePages/Visual-Acuity-and-the-Arts-of-Communication-in-Early-Modern-Germany-Intro.pdf.
Congedo, Umberto. La vita e le opere di Scipione Ammirato (notizie e ricerche). V. Vecchi, 1904. http://archive.org/details/lavitaeleopered00conggoog.
Klapisch-Zuber, Christiane. L’Ombre des Ancetres. Paris: Fayard, 2000.
———. “The Genesis of the Family Tree.” In I Tatti Studies. Essays in the Renaissance, 4:105–29. Florence: Leo Olschki, 1991.

2009-11-24

Diagrams or Stemmata

A scholarly correspondent has taken me to task over the term "stemmata", saying these figures in the medieval manuscripts are properly called "diagrams" in English. That rather misses the point. Conceptually, there are three different ways of seeing the figures. One is to consider their meaning as art, contemplating the world of significance behind them. That is the focus of Christiane Klapisch-Zuber's book, L'Ombre des Ancêtres, which uses the extraordinary Arbre of Loyset Liédet as its cover illustration. The wordless Liédet image, showing various well-dressed people impossibly perched in a strangely sick tree, seems senseless unless one understands the art-historical context in which it was painted. Another aspect of stemma figures is clearly diagrammatic. Like geometrical figures (for example cubes and pyramids) or plans (such as that of the locus sanctus), they engage with our spatial intelligence and illustrate text, following the dictum, "One picture is worth a thousand words." But the third aspect of the figures is typographical, considering how text can be rearranged on the page to make its meaning clearer. The stemmata of Cassiodorus do not have to be arranged in graphical form (Mynors converted most of them back to linear text in his critical edition of the Institutiones), but, like poetry, these texts are enormously improved by a sympathetic spatial arrangement. The connecting lines support and enhance the connecting words. The stemma has a dual character: it is both art and text. The word "stemma" is the appropriate term for this special type, even if the figure can also be discussed in the wider categories of art motifs or diagrams. The Macro-Typography website focuses on how text is arranged to make its meaning clear.