The Vergilius Vaticanus | |
---|---|
Also known as | Vatican Virgil |
Language | Latin |
Date | 4th century |
Provenance | Monastery of Saint-Martin |
Manuscript(s) | MSCod.Vat. lat. 3225 |
Sources | Aeneid, Georgics |
The Vergilius Vaticanus, also known as Vatican Virgil [1] (Vatican, Biblioteca Apostolica, Cod. Vat. lat. 3225), is a Late Antique illuminated manuscript containing fragments of Virgil's Aeneid and Georgics . It was made in Rome in around 400 CE, [2] and is one of the oldest surviving sources for the text of the Aeneid. It is the oldest and one of only three ancient illustrated manuscripts of classical literature.
The two other surviving illustrated manuscripts of classical literature are the Vergilius Romanus and the Ambrosian Iliad. The Vergilius Vaticanus is not to be confused with the Vergilius Romanus (Vatican City, Biblioteca Apostolica, Cod. Vat. lat. 3867) or the unillustrated Vergilius Augusteus, two other ancient Vergilian manuscripts in the Biblioteca Apostolica.
Virgil created a classic of Roman literature in the Aeneid . He used vivid locations and emotions to create images through poetry in the story. It discusses Aeneas and his Trojan comrades wandering into the seas until reaching their final destination in Italy after escaping the city of Troy after the Trojan War. The narrative includes themes of love, loss, and war. The Trojan War is an inspiration and a catalyst in a long line of epic poetry that came after Virgil. [3]
The illustrations were added by three different painters, all of whom used iconographic copybooks. The first worked on the Georgics and parts of the Eclogues ; only two worked on the Aeneid . Each individual artist's illustrations are apparent based on their ability. The first artist is distinguished by his knowledge of spatial perspective and anatomy. His illustrations creates in the Georgics and Eclogues focus on his skill of creating distances and landscapes. The illustration of the herd being led to water is found in the artist's illustration of the Georgics. Each figure and object in the background is distinguishable with a realistic spatial arrangement. [4]
Compared to the first artist, the second artist, who worked on the Aeneid, lacks the same familiarity with spatial perspective. The inclusion of crowds with buildings, people and mountains creates a striking contrast in the discovery of Carthage. There are ideas of spatial perspective, realistic space and figures in the third artist's illustrations. He used his ability to depict a realistic background based on his skill in human anatomy. One example was where the deceased Dido lays in repose in her decorated bedchamber in the Lamentation Over Dido. [4]
There are 76 surviving leaves in the manuscript with 50 illustrations. [5] If, as was common practice at the time, the manuscript contained all of the canonical works of Virgil, the manuscript would originally have had about 440 leaves and 280 illustrations. The illustrations are contained within frames and include landscapes and architectural and other details.
Many of the folios survive in fragments. Some fragments are grouped in fours or fives. There are 50 damaged illustrations in poor condition. It is simple to reconstruct the original book based on each fragment. The canonical works of Virgil, containing 440 folios with 280 illustrations, was customary at the time containing no introductions. It is easy and handy to read. There is no evidence of a significantly older book which can be compared based on quality.
Of the several editions of Virgil, the Vergilius Vaticanus is the first edition in codex form. It may have been copied from a set of scrolls, which caused a lack of clarity with the transmission of the text. There was a well-organized workshop that created the Vergilius Vaticanus. By leaving spaces at certain places in the text, a master scribe planned the inclusion of illustrations when copying the text.
Out of tradition and convenience, there were iconographic models that were from three different artists who filled in the illustrations. For the painter to finish this work, a set of illustrated rolls was studied and adapted which were to serve as iconographic models for the Aeneid.
These kinds of small illustrations were placed in the columns of text which was written in papyrus style on rolls.
The text was written by a single scribe in rustic capitals. As was common at the time, there is no separation between words. One scribe used a late antique brown ink to write the entire text. Using eight-power magnification, the ink is grainless which appears smooth and well-preserved. The Vergilius Vaticanus is in very good condition, compared to other manuscripts from the same time period, which had been inefficiently prepared causing the parchment to break from oak gallnuts and ferrous sulphate. For distinctions to be made between thick and thin strokes the scribe used a trimmed broad pen. The pen was nearly held at 60 degrees where most strokes would occur. [1]
The miniatures are set within the text column, although a few miniatures occupy a full page. The human figures are painted in classical style with natural proportions and drawn with vivacity. The illustrations often convey the illusion of depth quite well. The gray ground of the landscapes blend into bands of rose, violet, or blue to give the impression of a hazy distance. [2] The interior scenes are based on earlier understanding of perspective, but occasional errors suggest that the artists did not fully understand the models used. The style of these miniatures has much in common with the surviving miniatures of the Quedlinburg Itala fragment and have also been compared to the frescos found at Pompeii. Each miniature had a proportional figure with a landscape creating a hazy effect, featuring classical architecture and clothing. [1]
Popular myths such as Hylas and the Nymphs were represented by the nine surviving illustrations of the Georgics through a command of pastoral and genre scenes by competent artists. [1] The illustrations in the Aeneid are mixed with the Georgics; however, the Georgics’ artistic ingenuity is greater than the Aeneid illustrations. [1] Without decorated frames and painted backgrounds or landscape settings, the illustrated verses used only the essentials for telling a story using minimal figures and objects. Neither framed nor painted in the background, the Vergilius Vaticanus uses a roll of illustrations in the Papyrus style. [1]
One important miniature depicts Aeneas and Achates discovering Carthage (folio 13). The artist sacrificed style for pictorial accuracy in order to capture the city in its urgent progress and unity. There are two Trojans standing on a cliff surveying Carthage in an image that lacks perspective. Achates and Aeneas are identified with labels above their heads. Aeneas’ body provides material for examination such as deteriorated drapes of clothes which prevents Achates’ body from being examined. Aeneas’s awkwardly composed anatomy is created with the artist’s smooth and thick brushstrokes. The drapery unnaturally positions the legs after covering the body. Aeneas’s body, in contrast to Achates, implies speech based on the extended stance. Maintaining textual accuracy, there is a clumsy perspective on the right of Aeneas which outlines Carthage. [1] Two workers and an overseer, in the quarry below Aeneas, extracts raw materials for construction. There are stonemasons being watched by the supervisors in the background. Only stone arches and walls are being displayed, not the actions in progress. [4]
Preparing 220 sheets of parchment paper measured from 25 by 43 centimeters (10 by 17 in) was the first step in the bookmaking process. This is comparable to other luxurious manuscripts of the time, some of which required approximately 74 sheep in order for the manuscript to be created. Despite a few holes in the Vergilius Vaticanus, it remained in excellent quality. Parchment is very thin with a smooth polished surface which are described by being the best books of the period. The hair side is slightly yellow creating a curl while the side of the flesh is white. The usage of the parchment at extensive length will lead to deterioration, fortunately the parchment can be used at great length based on its stiffness.
The manuscript was probably made for a pagan noble. This late antique illuminated manuscript remained actively used for at least 200 years in Italy. [1] The first record of the almost complete manuscript showed up at the monastery of Saint-Martin in Tours during the second quarter of the ninth century. There are only a few corrections and replacement have been done on the text. Before the manuscript was dismembered and further disappeared, the illustrations from the manuscript were studied delicately by artists. Those artists later established one of the most influential painting schools of Carolingian painting and one of the artists actually copied two figures from the manuscript to use in the Vivian Bible. [6]
In 1448, the Italian humanist Giovanni Pontano studied and collected the manuscript. At that time, as the manuscript lost around 164 folios. In addition, several folios were appear to have been cut by someone else. In around 1514, the manuscript, after it disappeared and suffered more dismemberment, showed up in Rome in the circle of Raphael where several of the surviving illustrations were copied and adapted for other purpose. People feared that the manuscript would eventually completely deteriorate, so a copy of all the illustrations from the manuscript was created in the circle of Raphael (now Princeton MS104). In 1513, the manuscript was transferred to Rome, to the library of the humanist Pietro Bembo. When Pope Leo X died in 1521, Bembo retired to Padua and brought the manuscript with him. Next, Pietro Bembo passed down the manuscript to his son, Torquato Bembo. Finally in 1579, the manuscript returned to Rome and some folios got trimmed down. Fulvio Orsini bought the manuscript from Torquato Bembo. Fulvio Orsini eventually bequeathed his library to the Vatican library in 1600. Shortly after 1642, the manuscript was altered due to rebinding the codex and added patches on the parchment. [7]
The manuscript was published with color reproductions in 1980.
Print Facsimile: Wright, David H. Vergilius Vaticanus: vollständige Faksimile-Ausgabe im Originalformat des Codex Vaticanus Latinus 3225 der Biblioteca Apostolica Vaticana. Graz, Austria: Akademische Druck- u. Verlagsanstalt, 1984.
Digital Facsimile: Vatican Library
All the illustrations are online, with commentary, in Wright, David H., The Vatican Vergil, a Masterpiece of Late Antique Art, Berkeley, University of California Press, 1993, google books, full online text
In Greco-Roman mythology, Aeneas was a Trojan hero, the son of the Dardanian prince Anchises and the Greek goddess Aphrodite. His father was a first cousin of King Priam of Troy, making Aeneas a second cousin to Priam's children. He is a minor character in Greek mythology and is mentioned in Homer's Iliad. Aeneas receives full treatment in Roman mythology, most extensively in Virgil's Aeneid, where he is cast as an ancestor of Romulus and Remus. He became the first true hero of Rome. Snorri Sturluson identifies him with the Norse god Vidarr of the Æsir.
Publius Vergilius Maro, usually called Virgil or Vergil in English, was an ancient Roman poet of the Augustan period. He composed three of the most famous poems in Latin literature: the Eclogues, the Georgics, and the epic Aeneid. A number of minor poems, collected in the Appendix Vergiliana, were attributed to him in ancient times, but modern scholars consider his authorship of these poems as dubious.
In Greek and Roman mythology, Achates may refer to the following personages:
In Roman mythology, the Aeneads were the friends, family and companions of Aeneas, with whom they fled from Troy after the Trojan War. Aenides was another patronymic from Aeneas, which is applied by Gaius Valerius Flaccus to the inhabitants of Cyzicus, whose town was believed to have been founded by Cyzicus, the son of Aeneas and Aenete. Similarly, Aeneades was a patronymic from Aeneas, and applied as a surname to those who were believed to have been descended from him, such as Ascanius, Augustus, and the Romans in general.
The Vatican Apostolic Library, more commonly known as the Vatican Library or informally as the Vat, is the library of the Holy See, located in Vatican City. It was formally established in 1475, although it is much older—it is one of the oldest libraries in the world and contains one of the most significant collections of historical texts. It has 75,000 codices from throughout history, as well as 1.1 million printed books, which include some 8,500 incunabula.
The Quedlinburg Itala fragment is a fragment of six folios from a large 5th-century illuminated manuscript of an Old Latin Itala translation of parts of 1 Samuel of the Old Testament. It was probably produced in Rome in the 420s or 430s. It is the oldest surviving illustrated biblical manuscript and has been in the Berlin State Library since 1875-76. The pages are approximately 305 x 205 mm large.
The Vergilius Romanus, also known as the Roman Vergil, is a 5th-century illustrated manuscript of the works of Virgil. It contains the Aeneid, the Georgics, and some of the Eclogues. It is one of the oldest and most important Vergilian manuscripts. It is 332 by 323 mm with 309 vellum folios. It was written in rustic capitals with 18 lines per page.
The Rabbula Gospels, or Rabula Gospels, is a 6th-century illuminated Syriac Gospel Book. One of the finest Byzantine works produced in Asia, and one of the earliest Christian manuscripts with large miniatures, it is distinguished by the miniaturist's predilection for bright colours, movement, drama, and expressionism. Coming from a period from in which little art survived, and which saw great development in Christian iconography, the manuscript has a significant place in art history, and is very often referred to.
The Vergilius Augusteus is a manuscript from late antiquity, containing the works of the Roman author Virgil, written probably around the 4th century. There are two other collections of Virgil manuscripts, the Vergilius Vaticanus and the Vergilius Romanus. They are early examples of illuminated manuscripts; the Augusteus is not illuminated but has decorated initial letters at the top of each page. These letters do not mark divisions of the text, but rather are used at the beginning of whatever line happened to fall at the top of the page. These decorated initials are the earliest surviving such initials.
The Vienna Dioscurides or Vienna Dioscorides is an early 6th-century Byzantine Greek illuminated manuscript of an even earlier 1st century AD work, De materia medica by Pedanius Dioscorides in uncial script. It is an important and rare example of a late antique scientific text. After residing in Constantinople for just over a thousand years, the text passed to the Holy Roman Emperor in Vienna in the 1500s, a century after the city fell to the Ottomans.
The Ambrosian Iliad or Ilias Picta is a 5th-century illuminated manuscript on vellum, which depicts the entirety of Homer's Iliad, including battle scenes and noble scenes. It is considered unique due to being the only set of ancient illustrations that depict scenes from the Iliad. The Ambrosian Iliad consists of 52 miniatures, each labeled numerically. It is thought to have been created in Alexandria, given the flattened and angular Hellenistic figures, which are considered typical of Alexandrian art in late antiquity, in approximately 500 AD, possibly by multiple artists. The author(s) first drew the figures nude and then painted the clothes on, much like in Greek vase painting. In the 11th century, the miniatures were cut out of the original manuscript and pasted into a Siculo-Calabrian codex of Homeric texts.
In Greek mythology, Nesaea, Nesaia or Nisaea was the 'white' Nereid of islands, one of the 50 marine-nymph daughters of the 'Old Man of the Sea' Nereus and the Oceanid Doris.
The Naples Dioscurides, in the Biblioteca Nazionale, Naples, is an early 7th-century secular illuminated manuscript Greek herbal. The book has 172 folios and a page size of 29.7 x 14 cm and the text is a redaction of De Materia Medica by the 1st century Greek military physician Dioscorides, with descriptions of plants and their medicinal uses. Unlike De Materia Medica, the text is arranged alphabetically by plant.
The Joshua Roll is a Byzantine illuminated manuscript of highly unusual format, probably of the 10th century Macedonian Renaissance, believed to have been created by artists of the imperial workshops in Constantinople, and now in the Vatican Library.
In Greek mythology, Thalia or Thaleia was one of the fifty Nereids, marine-nymph daughters of the 'Old Man of the Sea' Nereus and the Oceanid Doris. Her name was derived from θάλλειν thállein which means "to flourish, to be green".
The Sacra Parallela is a Byzantine florilegium of quotes from the Bible and patristic texts used in the instruction of ethics, morals and asceticism.
In the Aeneid, Achates was a close friend of Aeneas; his name became a by-word for a very intimate companion.
In Virgil's Aeneid, Androgeos or Androgeus was a Greek soldier, who during the sack of Troy in the middle of the night mistook Aeneas and his group of Trojan defenders for a Greek raiding party, paying for this mistake with his life. Afterwards, Aeneas's companion Coroebus dressed in Androgeos's armor in order to fool more Greek soldiers to their demise, only to be the first among Aeneas's disguised group to die.
In Greek mythology, Cymodoce was the one of the 50 Nereids, sea-nymph daughters of the 'Old Man of the Sea' Nereus and the Oceanid Doris. She was briefly mentioned in Statius' Silvae.
In Greek mythology, Spio was one of the 50 Nereids, marine-nymph daughters of the 'Old Man of the Sea' Nereus and the Oceanid Doris. Variations of her name were Speio and Speo.