The <i>Mappae Clavicula</i> Treatise of the <i>Codex Matritensis</i> 19 and the Transmission of Art Technology in the Middle Ages

Kroustallis, Stefanos

doi:10.1484/m.dda-eb.5.102146

Cited by 3 publications

(4 citation statements)

References 10 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Firstly, a significant part of the Compositiones Lucenses tradition was likely to result in the aggregation of small internally ordered nuclei; each manuscript presents its own particular order of these nuclei that form the Compositiones Lucenses text (see also [39], p. 178). This feature sharply distinguishes this tradition from that of Mappae (see [27] for an opposing opinion).…”

Section: Pieces Of Codicological Evidencementioning

confidence: 96%

“…2r and 2v with recipes nos. [19][20][21][22][23][24][25][26][27][28][29][30] that appear in other witnesses as contiguous sequences, locally ordered. The manuscripts which show the recipes from the first folio are not mixed with any from the second folio, and vice versa.…”

Section: The Inventory Of the Manuscripts Of The Compositiones Lucensmentioning

confidence: 99%

“…This notion was still predominant in the early 2000s: Tosatti [26], pp. 27-36, Kroustallis [27], pp. 69-70, Clarke [28], pp.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Compositiones Lucenses and Mappæ Clavicula: two traditions or one? New evidence from empirical analysis and assessment of the literature

Frison

Brun

2018

Herit Sci

View full text Add to dashboard Cite

Information on materials and procedures of painters of the past can be gained from the latest examinations of a painting and its materials and from documentary sources, the change of meaning of which is of prior interest to historians of technical art. This paper is an empirical and theoretical examination of the relationships between the two main early medieval collections of craft recipes, the Compositiones Lucenses and the Mappae Clavicula. The primary aim of this work is to criticise the current prevalent meaning of the concept of Mappae Clavicula, and to show that its tradition does not include that of Compositiones: these two traditions, despite sharing two sets of manuscripts, result in two appreciably different texts. The first edition of the eighth to ninth centuries recipe book Compositiones Lucenses (Lucca, Biblioteca Capitolare, 490) occurred in 1739, and the twelfth century exemplar of Mappae Clavicula's text about one century later (Corning, Museum of Glass, Phillipps 3715, or Corning manuscript). In the interwar period and particularly after WWII, the Lucca manuscript was predominantly considered to be a member of the Mappae Clavicula tradition, which was regarded as second only to Theophilus's De diversis artibus, as a written source for the study of medieval technology. 'Compositiones Lucenses' and 'Mappae Clavicula' are taxonomic concepts for the classification of medieval manuscripts and texts, the meanings of which we redefine in this paper. In contrast to today's prevailing approach, we move the focus from two single manuscripts (Lucca 490 and Corning) to two different traditions of witnesses, and from single texts to collections of texts bound in the same codex. The critical section of the paper concerns the most important interpretations of the notion of Mappae Clavicula, while the positive section draws on three works: the seminal paper by Halleux and Meyvaert (1980s), Baroni's first critical edition of Mappae, and the inventory of the manuscripts of the Compositiones tradition by Brun (2010s). In the empirical section we contrast the two traditions and consider two sets of items: twelve manuscripts reveal the internal structure of the Compositiones Lucenses tradition, and nine codices, which transmit both traditions, shed light on how these traditions differ. As a result of the present research, we show that a significant segment of the Compositiones Lucenses tradition is composed of an aggregation of small recipe nuclei, and that this tradition developed regardless of that of the Mappae. The Mappae Clavicula and Compositiones Lucenses are two distinct textual traditions and not members of a super-corpus.

show abstract

Section: Pieces Of Codicological Evidencementioning

confidence: 96%

Section: The Inventory Of the Manuscripts Of The Compositiones Lucensmentioning

confidence: 99%

See 1 more Smart Citation

Compositiones Lucenses and Mappæ Clavicula: two traditions or one? New evidence from empirical analysis and assessment of the literature

Frison

Brun

2018

Herit Sci

View full text Add to dashboard Cite

show abstract

“…All but 26 recipes of the Compositiones Variae are incorporated into the Mappae Clavicula, itself a compendium of recipes (Roosen-Runge 1967;Smith and Hawthorne 1974;Baroni 2013;Kroustallis 2013;Frison and Brun 2018), possibly composed in France or Germany, and, like the Compositiones, connected to ancient Egyptian and early Greek alchemist knowledge (Halleaux and Meyvaert 1987;Clarke 2013). The text survives in different copies (almost 80 complete manuscripts or fragments from the ninth to the seventeenth century), including some fragments in a late eighth-century bifolium in the Augustiner Chorherrenstiftes Library in Klosterneuburg, Austria, and in a tenth-century codex preserved in the Bibliothèque Humaniste of Sélestat, France (MS. 17).…”

Section: Recipe Books and Practical Treatisesmentioning

confidence: 99%

Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century)

Мурат

2021

Archaeol Anthropol Sci

View full text Add to dashboard Cite

This paper is devoted to wall painting in the Middle Ages (ca. late fifth to early fifteenth centuries), with a focus on twelfth to fifteenth century Italy. It is conceived as a critical conflation of diverse methodologies, approaches and research tools, with the aim of investigating the topic from different and complementary perspectives. Historical textual sources provide the interpretive framework for the examination, which is conducted on specific, yet interrelated aspects. Special attention is paid to technical features, including the methods and materials used to produce wall paintings. Data from scientific investigations are incorporated into the discussion with the purpose of elucidating theoretical conceptualizations with material pieces of evidence. A number of selected case studies is presented within the text in order to keep the focus of analysis on the materiality of the paintings, hence avoiding the formulation of abstract concepts in favour of more pragmatic approaches.

show abstract

Interdisciplinary exploration of medieval technical manuscripts from the Iberian Peninsula

Llave

2022

Journal of Medieval Iberian Studies

View full text Add to dashboard Cite

The Mappae Clavicula Treatise of the Codex Matritensis 19 and the Transmission of Art Technology in the Middle Ages

Cited by 3 publications

References 10 publications

Compositiones Lucenses and Mappæ Clavicula: two traditions or one? New evidence from empirical analysis and assessment of the literature

Compositiones Lucenses and Mappæ Clavicula: two traditions or one? New evidence from empirical analysis and assessment of the literature

Wall paintings through the ages: the medieval period (Italy, twelfth to fifteenth century)

Interdisciplinary exploration of medieval technical manuscripts from the Iberian Peninsula

Contact Info

Product

Resources

About