02.06.10

Paleography and the evolution of the book

Posted in Anglican Communion, Book of Common Prayer tagged , at 10:00 pm by Michelle

Medieval Jewish Book

There has been a buzz this week among medievalists over the fate of paleography, the study of ancient writing and book production, in the current cost cutting atmosphere. Kings College in London is threatening to end its paleography program including its endowed chair. This has lead to an uproar among medievalists all over the world. Kings College had the only known endowed chair in paleography in the world. By what odd logic leads universities to get rid of what makes them unique? Shouldn’t they be highlighting their uniqueness? Besides, how can you cut a endowed chair for financial reasons — its endowed. Someone else is paying his salary. I know some endowments don’t stipulate the field of the chair but really, endowments should be there to cover fields that may need economic support. Popular fields with lots of students don’t need their professors to be endowed. There is plenty of tuition and per-student government support to cover their faculty and staff.

Paleography has to be nurtured.It takes decades of study to be able to interpret and date ancient handwriting, to learn how to preserve ancient books and know how a book was assembled after it has been disassembled. They must understand earlier forms of many languages: Latin, Greek, Hebrew, Old English, Old French, forms of Old German, etc. Paleographers in Britain would need to be able to recognize Latin, Old English, Middle English, early modern English, Old Welsh, Middle Welsh, Scots, Gaelic, and probably Old Irish.  Not only must they understand old languages but also old forms of writing. They also have to understand how books are assembled in all ages (before and after the printing press). It is both art and science.

Paleography has obvious implications for the study of prayerbooks and theology. Most obviously it is necessary to unravel books found anywhere from bogs in Ireland to caves in Israel or Egypt. While we all love beautiful books like the Jewish manuscript above, most books look like the magnified image where an illuminated initial is probably the only consistent decoration. Interpreting handwriting is the main thrust of paleography.

As digital books become more popular, how will society’s valuation of non-digital books change? As each generation becomes less familiar with books on paper (as they probably will 2-3 generations from now), paleography will be dealing with a world all the more foreign to contemporaries. On the one hand, there should be more respect for the specialty. However, as the proposed cutbacks in paleography today show, the more obscure the specialty is to those who value economics over all else, the more likely that funding will be cut and eventually the skill will be lost.

Once the transition to mostly digital books occurs, how will we all look at book organization differently? A book is the content within an object, between two covers. In early medieval books, there might be some widely differing content in one book. On the other hand because of the practicalities of book production, the entire bible was not contained in a single book (as anything other than a huge reference tome) until very late in the medieval period. So until the late medieval period most people knew the books of the bible literally as separate books that circulated separately. It could take an entire shelf of a bookcase or more to house the books of the bible. The printing press changed our perception of books. They now contain more content, are less unique, and are cheap enough for mass production, for the  masses to own them and to be produced in a wide variety of sizes etc. Miscellanies are less common unless they are planned to be that way (an anthology etc). In the digital world, a book is a bundle of data that is hyperlinked as a package.  Content does not necessarily flow linearly. With the iBCP there are already calls for it to be integrated with a bible so that all the readings automatically are linked or plugged into the BCP. In effect this would blend the BCP and the bible into one book. Since the BCP is the order and organization of liturgy, the bible would be reduced to reference snippets. How long before the organization of the bible ceases to mean much to the average user? How will the children of 2050 view “books”?  And won’t we need digital paleographers to sort out this new mess we are creating?

02.05.10

iBCP: Keeping up with the times

Posted in Anglican Communion, Book of Common Prayer, Technology at 3:29 pm by Michelle

Today I downloaded a new app on my phone, the iBCP and my head has been spinning with possibilities ever since. The iBCP is the 1979 Book of Common Prayer on my phone, the whole thing. The designer Alexander Orozco stresses that this version does not have the official seal of approval of the Custodian of the Standard Book of Common Prayer, and is based on a private transcription of a public domain copy. (I thought all copies were in the public domain?) Its the most expensive ap I’ve ever bought but for $5 I’ll have the BCP on me at virtually all times. All aps I have so far update for free so it will only get better from here!

It seems easy to use. The font is clear and large enough to read easily. The graphic here is uploaded full size. The only place I have found so far where I question the font size is in the psalms. The first half of the verse is regular size but the second half is quite small. Its readable, but it could be hard on the eyes over a long read. It is designed basically like a highly hyperlinked web site with a highly detailed table of contents. The table of contents replicates that in the BCP plus collections of hyperlinks on psalms, prefaces, confessions, collects etc. at the bottom of the page. For example, you can find a link directly to each of the psalms through the hyperlink collection on psalms. All references within the BCP to other areas are also linked.   The one disappointment is that it doesn’t have a search engine. The more I thought about it though, the more I realized how difficult it would be to find unique search words that would pull up a reasonably good search. The extensive hyperlinked table of contents seems like the right way to go.

Most comments I’ve seen on the iBCP refer to it as a beginning and it is a good beginning. The possibilities for bringing church resources to  smart phones and perhaps tablet computers are mind boggling. I’ll save conjecture in that realm for another day.

After reading a few reviews from priests saying how indispensable the app is and how much they use it in practical ministry, I couldn’t help imagining all afternoon various times when a priest pulls out his phone for some quick liturgy — my favorite being a dignified grave-side funeral with the priest reading from his iPhone.

01.29.10

Seven Sorrows Chaplet

Posted in Blessed Virgin Mary, prayer beads tagged at 11:21 pm by Michelle

The Seven Sorrows Chaplet is my latest chaplet design.  There is a tradition of recognition of the seven sorrows and seven joys of the Blessed Virgin Mary that goes back to the 13th century. The sorrows of Mary are also represented by Our Lady of Sorrows and the Mater Dolorosa (Mother of Sorrows).  The sorrows of Mary are represented by a sword through her heart, and the seven sorrows by seven swords in her heart. The Seven Sorrows have long been a theme for prayer beads. These are usually long chaplets with medals and beads for each of the sorrows as found here.

15th century cross replica

Seven Sorrows center

Anglican chaplets are ideally designed for the seven sorrows devotion because there are seven beads on each “week” of beads (analogous to a decade of a Catholic rosary).  The metal used in this chaplet came from Gardens of Grace, all bronze replicas of antique pieces. The cross is a replica of a 15th century cross, the small medal attached to the cross is a tiny miraculous medal, and the three-way connector is a heart pierced with seven swords.  The reverse of the three-way connector features the symbol of the sacred heart of Jesus. The beads are 10 mm mother of pearl.

This chaplet is designed in a Anglican format and can be used as an Anglican rosary or as a chaplet. The seven “week” beads (in the loop) could be used to remember the seven sorrows (or the seven joys). The single bead attached to the cross is the invitatory bead used for special intentions or a prayer to lead into the the other meditations. In this chaplet the three-way connector of the heart with seven swords functions as the cruciform bead. A full Anglican rosary can be done with this chaplet if the cruciform and week beads are repeated four times. Anglican rosaries and chaplets are free-form in so much as there is no set group of prayers. Each person can use them as they see fit. I am still thinking about how I will use this chaplet, what prayers to assign to each bead, cross or medal. I think I will use the week beads to meditate on each of the sorrows and pray for similar groups in the modern world, such as the homeless and refugees on bead 2 (flight into Egypt). Traditional Marian prayers can also be assigned to other parts like the cruciform bead (center) or the cross.

The Seven Sorrows I will be observing are listed below with the traditional seven designated by the number in brackets.  I added my fourth sorrow, Mary’s fears over the crowds and authorities following Jesus, because it is  based in scripture and it helps bridge the gap between his childhood and Good Friday. Further some of the traditional sorrows are not mentioned in the gospel and are heavily clustered on Good Friday. Meeting Jesus on the road to Calvary is part of the stations of the cross but it is not in the Gospel. Likewise, Mother Mary is not listed among those present at the tomb. Having four of the seven sorrows on Good Friday seems to me like they are trying to stretch to reach seven. How might you adjust these seven sorrows?

  • [1] Prophecy of Simeon. (Luke 2:33-35)
  • [2] Flight into Egypt (Matt  2:13-15)
  • [3] Loss of the child Jesus in Jerusalem for three days. (Luke 2:41-51)
  • Mary fears the crowds and authorities following Jesus. (Mark 3:20-33, Matt 12:46-50,  Luke 8:19-21)
  • [4] Mary meets Jesus on the road to Calvary
  • [5] Mary stands at the foot of the Cross. (John 19:25-27)
  • [6] Jesus is taken down from the cross and laid in his mother’s arms; and [7] is laid in the tomb.

01.27.10

Hours of Anne of Cleves

Posted in Book of Hours tagged at 12:56 am by Michelle

Karl over at Got Medieval! just posted that the Morgan Library and Museum is digitizing the entire manuscript of the Hours of Anne of Cleves. This site is mainly useful for studying the artwork. According to their introduction, this book was disassembled in the 19th century and the leaves were later rebound in two volumes out of order. This digital edition seeks to restore the original 15th century order to the book. The Hours of Anne of Cleves are considered one of the finest examples of Dutch illumination.

St George page from the Hours of Anne of Cleves

Being a member of a church dedicated to St George, his pages always draw my attention.  The main picture is a pretty typical picture of St George slaying the dragon. Now the margins are a little more interesting.  As I haven’t managed to capture the zoom version of this page, I’ll have to ask you to go to this zoom image and look at the bottom of the page.       The primary scene in the lower margin is of the virgin with the unicorn placing its horn in her lap, not its head per say but its horn… Now maybe I’ve been just reading Got Medieval! for too long, but these flowers surrounding the virgin seem to imply something else, indeed a threat to her virginity. Dare I suggest that the illuminator was inspired by George’s lance? I’m not sure what theological message I’m supposed to be getting from this page.

12.02.09

The Sacred Hearts

Posted in Church History, Church Life, Roman Catholics, Terminology, Uncategorized at 1:37 pm by Michelle

sacredheart sacred-heart-of-mary For some reason I’ve been thinking about pictures of Jesus and Mary that I can remember from my childhood lately. The style I remember most from the homes of the older members of my family are all of the sacred heart of Jesus and the sacred heart of Mary, usually 8 x10 or larger hung or displayed next to each other. The illustrations here are not exactly like a remember but very similar. The prints in my memory are all very pastel, because they were all faded with age.

It struck me today how long its been since I’ve seen these once ubiquidous images. The reason is simple. I belong to a protestant church now and neither of these images are used. While protestant churches avoid pictures of Mary, they don’t use images of the Sacred Heart of Jesus either. I don’t know why as the sacred heart of Jesus is a symbol of the love of God. Anyone know why Protestants avoid the image of the sacred heart?

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