In this paper, I investigate the relationship between the text and the images in medieval Latin bestiary manuscripts. Medieval bestiaries, which are derived from the ancient Physiologus, comprise a nearly 1800-year-old tradition and have spawned several hundreds of copies throughout Europe, including a smaller subset of Latin bestiaries. Scholarship on this subject, spanning more than a century, has never directly addressed the crucial question of the relationship between image and text. Summarizing the first ever comprehensive analysis of the entire corpus of Latin bestiaries, this paper examines the patterns of deviations, or exceptions from the rigorous canon governing bestiary illustrations, to arrive at a novel explanation of the significance of certain recurrent motifs – one that might also apply to larger sets of medieval manuscripts.
This paper intends to offer the first comprehensive study of the textual transmission of the so-called Excerpta Taionis, a global – but today only partially preserved – commentary on the Sacred Scriptures completely based on extracts of pope Gregory the Great and safely attributed to bishop Taio of Saragossa. Thus, I will discuss which manuscripts really transmit the remaining text and what are the loci critici which permit the textual relationships between them to be found. As a result, a stemma codicum will be finally shown.
The marginal rubrics in a selection of manuscripts containing Peter Lombard’s commentary on the Pauline Epistles are analysed in order to attempt to understand how the commentary was used in Paris during the late 12th and early 13th centuries. Although the commentary appears to have been standardised by the early 13th century, there are significant differences in the marginalia demonstrating a desire by different institutions to highlight particular passages and/or patristic sources contained within the text. This analysis results in a comparison between Lombard’s text and the Glossa Ordinaria.
Colour could be charged with different meanings in medieval times. This included also the venerable ancestry or a renowned provenance of pigments. These questions influenced the discussion of colour production in technical treatises as well as the use of pigments in works of art. By means of some representative pigments the paper will discuss the transmission and transformation of technical knowledge from Antiquity to the Middle Ages and its impact on the actual use of pigments in the art.