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During the 13th to 15th centuries, the main towns of Aquitaine under English rule and located in Bordelais (Blaye, Bordeaux, Bourg, Cadillac, Libourne, Saint-Émilion, Saint-Macaire), developed, as part of the boom in writing and preservation of archives, many and varied forms of documentary practices : copies of royal acts, constitution of procedural files, rolls, chirographs, signs, cartularies, etc. Concomitantly with their political organisation, whether they were set up as a commune or remain under seigneurial domination, they thus constituted archival funds, the composition of which, specific to each of them, most often reflects an affirmation of identity and the construction of community memory, the scope and strategies of which vary, in particular according to the status of these cities. The most successful examples of these identity and memory strategies, highlighted by codicological and textual analyses, are the Bordeaux and Libourne cartularies, which were carefully structured prior to their development, sometimes modified, thus marking the political and social evolutions of these communities, particularly in the difficult context of the war of Hundred years. The identities and memories emanating from these archives and these documentary practices underline the social composition of these cities, their political and commercial ambitions, going beyond, for Bordeaux and Libourne, the local and often conflictual framework. They also make it possible to identify the relationships between these urban communities, their main concerns or the hegemony of the jurade over the inhabitants. In addition, the study of these funds, and in particular their comparison, with regard to the royal acts, with the Gascon roles kept in the English chancellery, makes it possible to understand the very direct relationship maintained by these communities with the English sovereigns, sometimes to the detriment of the royal administration set up in Aquitaine, but also raises the question of the archival choices made : the construction of identity and memory seems to have also involved the disappearance, in municipal funds, of acts most unfavorable to the interests of the city, as well as certain clauses in the copies of preserved acts, even the opportune appearance of documents of which there are no more traces in the English archives., Au XIIIe au XVe siècle, les principales villes de l’Aquitaine sous obédience anglaise et situées en Bordelais (Blaye, Bordeaux, Bourg, Cadillac, Libourne, Saint-Émilion, Saint-Macaire), développèrent, dans le cadre de l’essor de l’écrit et de la préservation d’archives, des formes nombreuses et variées de pratiques documentaires : copies d’actes royaux, constitution de dossiers de procédure, rouleaux, chirographes, pancartes, cartulaires, etc. Concomitamment à leur organisation politique, qu’elles soient érigées en commune ou demeurent sous domination seigneuriale, elles constituèrent ainsi des fonds d’archives, dont la composition, propre à chacune d’entre elles, traduit le plus souvent une affirmation identitaire et la construction d’une mémoire communautaire, dont l’ampleur et les stratégies mises en œuvre varient, notamment selon le statut de ces villes. Les exemples les plus aboutis de ces stratégies identitaires et mémorielles, mises en exergue par des analyses codicologiques et textuelles, sont les cartulaires bordelais et libournais, qui furent minutieusement structurés préalablement à leur élaboration, parfois modifiés, marquant ainsi les évolutions politiques et sociales de ces communautés, particulièrement dans le contexte difficile de la guerre de Cent ans. Les identités et mémoires émanant de ces fonds d’archives et de ces pratiques documentaires soulignent la composition sociale de ces villes, leurs ambitions politiques et commerciales, dépassant, pour Bordeaux et Libourne, le cadre local et souvent conflictuel. Elles permettent également de cerner les relations entre ces communautés urbaines, leurs principales préoccupations ou l’hégémonie de la jurade sur les habitants. En outre, l’étude de ces fonds, et notamment leur comparaison, en ce qui concerne les actes royaux, avec les rôles gascons conservé à la chancellerie anglaise, permet de comprendre la relation très directe entretenue par ces communautés avec les souverains anglais, parfois au détriment de l’administration royale mise en place en Aquitaine, mais soulève également la question des choix archivistiques effectués : la construction identitaire et mémorielle semble avoir aussi impliqué la disparition, dans les fonds municipaux, des actes les plus défavorables aux intérêts de la ville, de même que certaines clauses dans les copies d’actes conservées, voire l’apparition opportune de documents dont il n’existe plus de traces dans les archives anglaises.

Straipsnyje nagrinėjama Abiejų Tautų Respublikos astronomo Jano Hevelijaus (1611–1687) veikalo Selenografija (1647), skirto Mėnulio stebėjimams, vertimo nuorašo kirilika istorija. Tyrimo objektu tapo LMAVB saugomas rankraštinis kodeksas (LMAVB RS F19–318), o lyginamai analizei buvo naudojama Ciuricho mokslo ir technikos universiteto ETH bibliotekoje saugomo egzemplioriaus skaitmeninė kopija. Pasitelkus literatūros analizę, trumpai aptariama astronomijos mokslo istorija XVII a. Europoje, Lietuvos Didžiojoje Kunigaikštystėje bei J. Hevelijaus veikalo vieta joje. Kodikologinė vieneto analizė leido atidžiau pažvelgti į kodekso sukūrimo būdą, o kartu ir pabandyti tikslinti jo gamybos vietą bei funkcionavimo istoriją. Pirminiai tyrimo duomenys patvirtina, kad tai Pasiuntinių tarnyboje dirbusio Stepano Čižinskio vertimo nuorašas. Tačiau kodekso gamybos vieta ir paskirtis nėra iki galo aiškios, nes knygos parengimas nėra išbaigtas (trūksta daugelio iliustracijų, lentelių). Pavieniai požymiai leidžia jį priskirti Pasiuntinių tarnybos „leidyklai“, o knygos blokui panaudotas popierius turi bendrų bruožų su LDK perrašytomis knygomis. Atskleista kodekso patekimo į Vilniaus viešąją biblioteką istorija leistų patikslinti tiek kodekso paskirtį, tiek funkcionavimo istoriją. The aim of this article is to investigate the history of the Cyrillic manuscript transcription of Selenographia (1647), which details Moon observation – the work of Polish–Lithuanian Commonwealth astronomer Johannes Hevelius (Jan Heweliusz, 1611–1687). The codex is relevant in two aspects: first, as an example of a late-17th century book, incorporating the characteristics of both a manuscript and a printed publication; and second – as an example of scientific literature in the Commonwealth. Hevelius is a well-known sciencist. The researcher is recognized as the first precise topographer of the Moon. He has composed a catalogue of 1564 stars, discovered four comets, and defined new boundaries of several constellations. In historiography, the manuscript translation of Selenographia has been known since the end of the 19th century. However, in the beginning of the 20th century, the transcript was equated to a piece owned by Tsar Feodor III Alexeyevich (1661–1682), which was present in his library in 1682. The manuscript has been studied by multiple linguists, astronomers, and museologists from various countries; however, it is still yet to receive attention from Lithuanian scientists. This article aims to clarify the currently available scientific information regarding the manuscript version of J. Hevelius’s work Selenographia, which is presently kept in the Manuscript Department of the Wroblewski Library of the Lithuanian Academy of Sciences (LMAVB). This study also seeks to answer the following questions: whether the scientists of the GDL were aware of the piece and its Slavic translation, if there is a possibility that the codex may have belonged to the library of Tsar Feodor III Alexeyevich, and what are the history and the lifecycle of the codex. The object of this investigation is a manuscript codex (LMAVB RS F19–318) archived in the LMAVB. A digital copy of an exemplar archived in the Zurich ETH Library was used for comparative analysis. The history of astronomy in 17th century Europe and the GDL, as well as the placement of this work of Hevelius in that history, is shortly discussed and based on a literary analysis. This information was used to evaluate the scientific value of the manuscript codex under investigation and make conclusions regarding any possible demand for the translations of Selenographia in the GDL’s scientific environment of that time. Codicological and comparative analyses with the original print enabled to consider the circumstances of the translation and transcription of Selenographia and establish the characteristics of the manuscript codex. It was determined that the text is written in a hybrid Church Slavic language; it is written by several scribes in the Calligraphic Book Font with characteristics of the Chancellerie Font, distinctive to the cursives used in the 17th century in Kiev and Moscow. The transcription of the translation is illustrated with original copper engravings (17 of 140), hand-drawn copies of original drawings (17), and original (3) pictures. The majority of illustrations are missing, some blank gaps meant for tables are present, and several tables have been redacted completely. The contents of Selenographia were adapted to fit the environment of its purchaser: all dedications and celebratory texts dedicated to Hevelius were removed and supplementary texts were eliminated, an original preface created by the translator was added, and only an anonymous “ruler” is mentioned. The transcription of the text was intended to maintain the order of the text and illustrations as well as the exact glosses system present in the margins. All numbers and dates have been written in the Cyrillic alphabet; however a Western year numbering system was maintained, and the surnames of scientists were retained in their original Latin forms; objects named in schemes and diagrams were presented in the Latin alphabet. The coinciding fragments of an extant Selenographia translation (chapters 48, 51, 54, and 55) and texts of the codex kept in the LMAVB archives allow us to conclude that it is a translation made by S. Chizhinski during his service in Posol’skii prikaz (Moscow) in 1678–1681. Based on all the defined characteristics, as well as the unfinished appearance of the book and the variety of paper used, it may be concluded that it is a transcription meant for the diplomatic needs of Posol’skii prikaz rather than for the personal library of the Tsar. Efforts to find any evidence of the discussed Selenographia translation in the history of astronomy and book history in Lithuania were unsuccessful. It was not possible to clarify the history of the function of the codex as well. Nonetheless, the history of this book focuses one’s attention to another little-studied topic in Lithuania – the connections of literature and book culture in the 17th century that bridge the GDL and the Tsardom of Russia. To sum up, it may be concluded that access to new archival sources in Russia and Lithuania and a detailed chemical analysis of materials making up the codex (the ink in particular) would affirm or deny the conclusions reached in this study.

Seeks to understand the history and manufacturing processes of the medieval manuscript to recognize and reveal the importance of this period and these practices to the history of knowledge records. Consists of a literature that seeks to analyze and describe the process of copying, transcription, illustration and binding of manuscripts, as well as their relationship with medieval society. Concludes in favor of fundamental importance to the medieval period and its patent processes obtained about new behaviors and practices readers, as well as in editorial activities that are perpetuated to this day. Este artigo efetua uma análise da trajetória e dos processos de fabricação do manuscrito medieval durante os séculos XVI a XVIII para reconhecer e revelar a importância desse período e dessas práticas para a história dos registros do conhecimento. Como procedimento metodológico utiliza a revisão bibliográfica a partir de artigos científicos e livros especializados. Analisa e descreve os processos de cópia, transcrição, ilustração e encadernação dos manuscritos, assim como a relação destes com a sociedade medieval. Conclui que o período analisado foi fundamental para estabelecer uma rica relação social e cultural entre técnicas de fabricação do manuscrito medieval e emergentes comportamentos e práticas leitoras, algumas, das quais persistem na contemporaneidade.

This study addresses the historical development of writing tools related to manuscripts which are considered as the most fundamental and important information source for the advancement of the civilization. The emergence and development of manuscripts have been shaped by various cultural, political, economic and geographic factors. In this study precedence is given to the historical development of papyrus and codex, and terminological questions are addressed. Understanding the development process of manuscripts which are the ancestors of books, the main source of information today, that still exist in print and electronical form, will shed light to further research. The aim of this study conducted within this framework is to put forth the development process of manuscripts in general terms.

Dans la lignée de Sarah Huot et de Keith Busby, qui avaient ouvert la voie à une nouvelle approche du codex, l’ouvrage dirigé par Catherine Croizy-Naquet, Laurence Harf-Lancner et Michelle Szkilnik revient sur le lien qui unit la forme du volume à l’histoire de ses usages, en se donnant pour objet la recherche des « indices de la manière dont ont été lues et interprétées les œuvres qu’il contient » (p. 9). Le programme est ambitieux – avec plus de six siècles de production (depuis les manuscr...

Printers on Slovenian territory did not attempt to print facsimiles until the beginning of the 20th century and neither did they publish anything relevant in this expert field. The development of Slovenian facsimile nevertheless started (outside Slovenia) almost a whole century earlier. Its course is outlined against European parallels, providing achievements in the pre-modern era (18129-1959). The analysis focuses on earlier Slovenian facsimiles which have not been well known or had been especially scientifically unexplored. A surprisingly high expert level, both in terms of technology and editing, is revealed by our first facsimiles of the 19th century which were mostly initiated by Jernej Kopitar. In this period medieval materials give way to modern ones (Prešeren’s Poezije), which prevail afterwards. According to the fundamental criteria, upon which the definition of a modern facsimile is based, 12 units have been identified as facsimiles, 4 of them recognised as complete facsimiles meeting all the required criteria of that period.

Το παρισινό Τετραευάγγελο suppl. Gr. 914 αποτελείται από 319 περγαμηνά φύλλα, γραμμένα σε μικρογράμματη γραφή σε μονή στήλη, με συνδυασμούς γραμμάτων απλούς και ευανάγνωστους. Ο γραφικός χαρακτήρας του γραφέα είναι ταχύς και απόλυτα κάθετος. H διακόσμηση του ευαγγελίου αν και μέτριας τεχνικής και απόδοσης έχει ενδιαφέρον λόγω του αριθμού των 90 μικρογραφιών του και της επιλογής των θεμάτων του. Οι μικρογραφίες στο περιθώριό που εικονογραφούν επεισόδια του χριστολογικού κύκλου με έμφαση στην παιδική ηλικία, στα θαύματα και τις παραβολές συμπληρώνουν την αφήγηση. Eνώ υπάρχουν και δευτερεύουσες σκηνές από τον κύκλο των Παθών, η εικονογράφηση του κύκλου των μεγάλων λειτουργικών εορτών είναι ελλιπής. Αξίζει τέλος να σημειωθεί η εκτεταταμένη εικονογράφηση με τον βίο του Προδρόμου. Η μελέτη των μικρογραφιών και η παλαιογραφική ανάλυση αναβιβάζουν τη χρονολόγηση του κώδικα στο πρώτο μισό του 13ου αιώνα, ενώ η απουσία κολοφώνα δν κάνει εύκολη την απόδοσή του σε συγκεκριμένο scriptorium., “The Suppl. Gr. 914 of the National French Library, a little-known Gosper book”Αγγλική περίληψη: The Parisian Gospel book Supp. Gr. 914, which consists of 319 parchments, is written in a calligraphic miniscule lettering arranged in a single column and with legible and simple letter combinations. The handwriting is of the copyist is quick and almost totally vertical. The decoration of the text, albeit of mediocre quality and rendering, is important due to the great number of the 90 miniatures it contains and their subject matter. At the margins miniature scenes from the Christological cycle with an emphasis on the childhood of Christ, the miracles and the parables complete the narration. Additionally to the latter there are secondary scenes from the Passion cycle, although the illustration of the Feast cycle presents as incomplete. Finally, it should also be marked an extended vita cycle of St. John the Baptist. The study of the miniatures along with the paleographic analysis of the script raise the dating of the codex to the first half of the 13th century; nevertheless, the lack of a colophon makes all attempts of attribution to a certain scriptorium impossible.

The books are not only the support of ideas, cultures and knowledge, they also exist in their materiality, in their concreteness, therefore we say that a work has two dimensions: one on its ideas, its subject, its content, called corpus misticum and another on the material support, called corpus mechanicum. The Codicology is exactly the science that focuses on the study of the corpus mechanicum of the manuscripts books, also known as codices. Focusing on this science, the goal is to present the substance of a manuscript book of the late 18th century, intitled Memória Histórica da Capitania de São Paulo e Todos os seus Memoráveis Sucessos desde o anno de 1531 thé o prezente de 1796, of Manoel Cardoso de Abreu, as a way to understand the history of the codex in its full material extent. This document, dated 1796, is a codex belonging to the Archives of the State of São Paulo, E11571 quota, which tells the story of the Captaincy of São Paulo, formerly Captaincy of São Vicente, with the central figure Martim Afonso de Sousa, responsible for the foundation of the village of São Vicente.

U članku je zahvaćena iznimno složena tematika vezana uz liturgijski rukopisni kodeks MR 126 koji se nalazi u Metropolitanskoj knjižnici u Zagrebu, a poznat je pod imenom Sakramentar sv. Margarete. Osim što predlaže da taj kodeks bude imenovan Sakramentarom iz Zagreba, pisac po prvi put donosi objavljen tekst njegovih prvih dvanaest listova u diplomatičkome izdanju. Radi se o molitvama korizmena vremena. Rabeći komparativnu metodu na tim tekstovima, članak aktualizira ne samo pitanje o podrijetlu najstarijih zagrebačkih liturgijskih knjiga, nego i o liturgijskome identitetu ovoga sakramentara koji pokazuje obilježja kako grgurovske tako i gelazijevske predaje unutar povijesti liturgijskih knjiga. Autor potiče širu znanstvenu raspravu na temelju teološko-liturgijskih činjenica te – dovodeći djelomice u pitanje dosadašnja saznanja, postignuta i usvojena prije šezdesetak godina – svjestan parcijalnosti istraživanja, ne donosi konačne zaključke, ali naznačuje trag rješenja i upozorava na potrebu detaljnijega pristupa i uvažavanja teoloških činjenica. Suzuje područje traženja i upućuje na sličnost s drugim europskim kodeksima, među kojima valja tražiti i identitet Sakramentara iz Zagreba. To može izravnije pomoći povijesnim znanostima u stvaranju slike o utjecajima i nadahnućima na hrvatske krajeve, osobito Zagrebačku biskupiju u to doba., In this article author delivers exceptionally complex topic related to liturgical manuscript codex MR 126, also known as Sacramentarium Sanctae Margaretae, which is presently kept in the Metropolitan library in Zagreb. Here for the first time author presents critical transcription of the first twelve leafs of this manuscript, and suggests that henceforth it should be called Sancramentarium from Zagreb. Namely, the content of this text are Lent-time prayersa, and using comparative methods author discusses identity of the oldest liturgical manuscripts in Zagreb relating them to the identity of this sacramentarium. Moreover, the author invites a broader scientific discussion on the basis of theological and liturgical facts regarding the present notions and knowledge that was accepted some sixty years ago. Though, he does not gives any formal and fixed conclusions he suggests some paths that should be followed in the search for the liturgical identity of this sacramentarium. In this investigation he indicates Gregorian and Galezian influences in the manuscript MR 126, and proposes not to identify strictly this manuscript as French, Hungarian or German since the question of the history of sancramentarium could not be limited to a bishopric or a single region. He maintains that this manuscript is a product of a mixed tradition, and this supports by comparing it to the manuscripts such as Sacramentarium from Trento and Codex Sangallensis. This methodology also requires additional analysis of this manuscript regarding its broader context, and therefore any of the proposed conclusions cannot be applied to the whole manuscript but only to the analysed parts. Namely, author emphasises Gregorian influence, together with Alcuin’s redaction, on the manuscript which can be traced also in the similar contemporary manuscripts (11th c.). But also there is very clearly visible influence of the local tradition. Thus, author supposes that this combination enables us to trace even earlier tradition (perhaps even 9th century) that was included in this text. At the end of this article the author expresses his hope that this contribution will provoke more efforts concerning publication of this manuscript.

U članku se informira o još jednom rukopisnom kodeksu Lovre Cekinića, poznatog i zaslužnog prepisivača i kulturnog djelatnika iz 18. stoljeća., Lovro Cekinić, a meritorious scribe of old Dubrovnik literature, and a renowned 18th century public figure, also produced a codex, mainly containing previously unknown historical documents. The codex contains a transcript of the Resti chronicle, some other short pieces, portions of large texts, and transcripts of various documents (letters and reports). Besides these Dubrovnik pieces, the codex includes a text added in 1840, a transcript chronicling the demise of the unfortunate French King Louis XVI, translated into Italian and published in Venice in 1794.