Gelzer and Africanus

The great stemma of biblical genealogy contains extensive traces of the universal chronicles devised in late antiquity, but that aspect of stemma authoring seems to have escaped serious study. The standard work describing classical-era timelines, by Heinrich Gelzer, was completed in 1898, and still remains authoritative:



Gelzer deals with the fragmentary evidence of what was in the Chronographiai, a history of the world by Sextus Julius Africanus in five books from the Creation up to the year AD 221. A quick scan suggests Gelzer did not know of the great stemma, which he would surely have appreciated as an important western witness to the influence of Africanus. Gelzer died in 1906, failing to produce a critical edition of the Chronographiai: a century later in 2007, Martin Wallraff completed that job.

Rightward Shift

After discovering in mid-January a major "wiring error" on Plate 12 of the Great Stemma that affects every extant copy of the diagram, I am now closer to understanding how this mess-up happened.

The Great Stemma appears to be a "family tree" of Christ which was compiled in late antiquity. In its section on the Judaean kings period, it includes the names of the kings' mothers. But as has already been noticed, many of the names are not those which are carefully set out in the Second Book of Kings in the Bible. A little study shows that most of the mysterious names of wives, which seem to have come out of nowhere, can in fact be found in one of the chronicles of antiquity, the Liber Genealogus, which uses slightly unfamiliar forms of the biblical names. This part of the analysis shows that a large block of names was simply shifted rightwards across the Great Stemma page to a new position. At least four wives' names were then shifted upwards to fill the gaps on the page. But what is most interesting of all is that the name of Queen Athalia, a bloodthirsty lady said to have out-heroded Herod by slaughtering children, appears twice on Plate 12.

I have made a graphic showing these corruptions here (click).

Mistakes like this are a godsend in manuscript detective work. This error offers us additional proof that there must have been a timeline originally running alongside the great stemma at mid-page height. This matters, because it reveals that the Great Stemma is not just a genealogy, but a graphic version of the universal chronicles which attempted in antiquity to cross reference the histories of different civilizations to establish an overview of Middle Eastern and Graeco-Roman history.

All this, in its turn, helps us to reconstruct how the Great Stemma looked when it was originally drawn, and indirectly proves (a) that stemma design in late antiquity was much more sophisticated than medieval copies show and (b) that the lack of proper stemma alignment in all 21 known copies of the Great Stemma is almost certainly a defect in the copying, not in the original design.

Electricians

I have been using an electrical continuity tester to discover what connects where inside a standard lamp that no longer lights up. And on the same day I have been transcribing a stemma page from the 12th-century illuminated Bible of San Millán de Cogolla. I found the coincidence illuminating (sorry, I could not resist that pun). The stemma, which presents a genealogy of Christ, contains a vast array of components (persona), which are "wired" together by connecting lines. Some authors have suggested that the stemma is a mnemonic device, but I have seen no evidence for that and doubt it. No one with a normal mind could remember all the connections simply by studying a graphic with several hundred nodes, any more than one could "learn" a wiring diagram for a complex electrical device. In fact, it is far easier to memorize the biblical passages on which the San Millán stemma is based and recite them than it would be to construct this stemma from memory. Both a wiring diagram and a complex stemma have a different purpose. They provide an analytical, information-storage method in which the user can mentally crawl along the lines to consider whether the electrical assembly is complete or whether the genealogical stemma offers all the necessary connections of descent or is marred by breaks. One must keep going back to the graphic to see the different local connections. Circuit diagrams are in fact a variety of process flow chart, which, as we know, have their origins in the stemma form.

Spelling

Some readers do seem to care strongly about the plural spelling of stemma. Dictionaries such as the OED offer three standard meanings (the simple eye of certain insects / the record of an ancient Roman genealogy / the tree diagram showing the relationships among manuscripts of a literary work) and the standard plural spelling "stemmata." On the Macro-Typography website, stemma is being used in a fourth, novel meaning, as a term for any graphical representation of any branching inter-relationships. It is a sense that Karl-August Wirth used in an article in German reviewing four typical medieval graphic forms used in educational texts: the table, stemma, arbor and rota. This usage of stemma is preferable to "tree." The objections to tree are that the word is misleading, especially because it is loaded in favour of twig-like graphic patterns, but also because it has generated a long history of confusion about that figure's "correct" orientation. A broader term would be useful. But is "stemma" in this sense ready for prime time? With a plural that is drawn from Greek, stemma is bound to remain a term of scientific and scholarly jargon. Diagram, also of Greek origin, would not be a term in international standard English if its plural were still "diagramata". We need to anglicize stemma with a regular English plural, "stemmas", if we hope to bring the term into wider currency. The spelling "stemmata" will remain in place on the Macro-Typography website, because the audience there is mainly of historians, but expect the anglicized plural "stemmas" for wider audiences interested only in graphic design.

Burgos Exhibition

With interest, I see that an exhibition of a selection of key Genealogies of Christ is currently under way at Burgos in northern Spain (link). From October 2009 till June 2010, a series of facimiles of Beatus manuscripts will be displayed. The centrepiece is of course the Burgos Bible. Also fascinating is that the San Millán de la Cogolla bible and another Madrid genealogy are now online in complete, high-quality digital editions.

Loyset Liédet

The Loyset Liédet picture mentioned below is reproduced on the French national library website. I would not entirely agree with the summary attached to it: it is somewhat confused, muddling the contradictory "tree" concepts, but the images on the page are great. As my own introduction explains, the term "tree" leads to confusion since it has a variety of overlapping meanings in a medieval context.

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.