What does it mean to digitize a medieval manuscript? This book examines this question by exploring a range of advanced imaging technologies, from multispectral to 3D to reflectance transformation imaging. To understand imaging technologies requires an understanding of the complex materiality of what is being digitized and, to this end, the book focuses on the relationship between digital technologies and the complex materiality of manuscripts and the human bodies that engages them. From this perspective, the chapters explore imaging technologies, interfaces to present digital surrogates, and limitations to and enhancements through the digital. But lest past photographic information be lost, the book also examines historical photographs, exploring their rich visual information, and how digitizing and comparing them transforms what can be known. Examples and innovations from the author's work digitizing the eighth-century St. Chad Gospels at Lichfield Cathedral are provided. This book is essential reading for all those involved in large and small scale manuscript digitization projects in both scholarly and cultural heritage contexts.

Many important and valuable rare books, manuscripts and artefacts related to Korea have been acquired by donations throughout the long history of the Bodleian Libraries and the museums of the University of Oxford. However, due to an early lack of specialist knowledge in this area, many of these Korean items were largely neglected. Following on from the publication of the first volume of these forgotten treasures, this book collects together further important and often unique objects. Notable items include the only surviving Korean example of an eighteenth-century world map, hand-drawn, with a set of twelve globe gores on a single sheet; rare Korean coins and charms including excellent examples of the 1423 Choson t'ongbo ; official correspondence from the archives of the United Society for the Propagation of the Gospel, shining a light on the history of Christian missions from the opening of Korea in the 1880s until after the Korean War; photographs from the end of the nineteenth century up to the 1960s showing village and street scenes; a rare silk coat with inner armour plates of lacquered hide; a massive iron padlock inlaid with silver character inscriptions, bronze shoes and Nightingale robe; spectacles with dark crystal lenses and frames of horn; an elaborately decorated bow, arrows and quiver and many other rare artefacts.

The Ormesby Psalter is perhaps the most magnificent yet enigmatic of the great Gothic psalters produced in East Anglia in the first half of the fourteenth century. Its pages boast a wealth of decoration picked out in rich colours and burnished gold, and its margins are inhabited by a vibrant crew of beasts, birds and insects. Fantastic imagery proliferates: musicians, mermaids, lovers and warriors are juxtaposed with scenes from everyday life, from chivalric legend, and from folk-tales, fables and riddles. The psalter takes its name from Robert of Ormesby, subprior at Norwich Cathedral Priory in the 1330s. He was not the first owner, however, and it has long been acknowledged that the writing, decoration and binding of the book took place in a series of distinct phases from the late thirteenth to the mid-fourteenth century. The final result was the work of four or five scribes and up to seven illuminators and its pages show a panorama of stylistic development. Unravelling its complexities has sometimes been thought to hold the key to understanding the 'East Anglian School', a group of large, luxury manuscripts connected with Norwich Cathedral and Norfolk churches and patrons. This book casts an entirely new light on its history, not only clarifying and dating the successive phases of production, but associating the main work on the manuscript with the patronage of John de Warenne, Earl of Surrey, one of the greatest magnates of the time. It is extensively illustrated with full-page colour reproductions of the manuscript's main decorated folios, as well as many smaller initials and numerous comparative illustrations.

Literary archives differ from most other types of archival papers in that their locations are more diverse and difficult to predict. Acquiring institutions for literary papers have historically had very little by way of collecting policies and consequently the collecting of literary papers has often been opportunistic and serendipitous. The essays collected in this book all derive or continue from the recent work of the Diasporic Literary Archives Network, which takes a comparative, transnational and internationalist approach to studying literary manuscripts, their uses and their significance. The focus on diaspora provides a philosophical framework which gives a highly original set of points of reference for the study of literary archives, including concepts such as the natural home, the appropriate location, exile, dissidence, fugitive existence, cultural hegemony, patrimony, heritage, and economic migration.

At the turn of the fifteenth century, private devotionals became a speciality of the renowned Ghent-Bruges illuminators. Wealthy patrons who commissioned work from these artists often spared no expense in the presentation of their personal prayer books, or 'books of hours', from detailed decoration to luxurious bindings and embroidery. This enchanting illuminated manuscript was painted by the Master of the David Scenes in the Grimani Breviary (known as the David Master), one of the renowned Flemish illuminators in the sixteenth century. Every page of the manuscript is exquisitely decorated. Fine architectural interiors, gorgeous landscapes and detailed city scenes, each one depicting a narrative, form the subjects of three full-size illuminations and forty-two full-page miniatures. There are floral borders on a gold ground or historiated borders in the Flemish and Italian style on every page. It is one of the finest examples of medieval illumination in a personal prayer book and the most copiously illustrated work of the David Master to survive. The manuscript owes its name to the French Queen, Marie de Medici, widow of King Henri IV. For a time she went into exile in Brussels, where she is thought to have acquired the manuscript before moving again to Cologne. An inscription in English states that she left the book of hours in this city, and it is here that an English manuscript collector, Francis Douce, may have acquired the book and eventually donated it to the Bodleian Library. Together with a scholarly introduction that gives an overview of Flemish illumination and examines each of the illustrations in detail, this full-colour facsimile limited edition, bound in linen with a leather quarter binding and beautifully presented in a slipcase, faithfully reproduces all 176 leaves of the original manuscript.

Among the many books in original bindings in Marsh's Library, Dublin, a surprisingly large number are in decorated blind- or gold-tooled, calf, pigskin or goatskin bindings, which date from the 15th to the 19th centuries. The bindings come from all over Europe, ranging from Ireland to eastern Europe. While most were made in England, some fine and interesting examples from Germany, Italy, France, Spain and Holland are also included. In this volume, leading scholar Mirjam Foot first gives an overview of how books were bound by hand and then describes the bindings by country of origin, within each section treating them chronologically and by type of decoration. The detailed descriptions of the bindings are illustrated with 52 black and white photos and 8 colour plates.

This volume celebrates the work of William O'Sullivan, the first keeper of manuscripts at Trinity College, Dublin, who preserved, made more accessible and elucidated the documents in his care. The manuscripts throw new light on the society of Ireland, the place of the learned and literate in that world, and its relations with Britain, Europe and America. Some of these essays clarify technical problems in the making of famous manuscripts, and bring out for the first time their indebtedness to or influence over other manuscripts. Others provide unexpected new information about the reigns of Edward I and James I, Irish provincial society, the process and progress of religious change and the links between settlements in Ireland and North American colonization.

This innovative study investigates the reception of medieval manuscripts over a long century, 1470-1585, spanning the reigns of Edward IV to Elizabeth I. Members of the Tudor gentry family who owned these manuscripts had properties in Willesden and professional affiliations in London. These men marked the leaves of their books with signs of use, allowing their engagement with the texts contained there to be reconstructed. Through detailed research, Margaret Connolly reveals the various uses of these old books: as a repository for family records; as a place to preserve other texts of a favourite or important nature; as a source of practical information for the household; and as a professional manual for the practising lawyer. Investigation of these family-owned books reveals an unexpectedly strong interest in works of the past, and the continuing intellectual and domestic importance of medieval manuscripts in an age of print.

A collection of articles in English and German devoted to the study of books, readers and libraries in medieval England, especially in the Anglo-Saxon period. The first article surveys the history of the English library from its beginnings to the suppression of the monasteries. It is followed by a more detailed examination of the first four centuries of Anglo-Saxon book collections and by studies on book production in 9th-century England, as seen in relation to King Alfred's plans for educational reform and to the intellectual background of library history in the 10th century. Of two articles on liturgical books, one sets out the now standard classified list of liturgical manuscripts written and owned in Anglo-Saxon England; other essays look at individual manuscripts and the earliest modern catalogue of surviving books with Old English texts.

The eruption of Mt. Vesuvius that destroyed Pompeii in A.D. 79 also buried nearby Herculaneum. Over time the location of the small town was forgotten. Shortly after its rediscovery in the 1730s, excavations--more likely treasure hunts--were organized that unearthed ancient sculptures that had survived the disaster. The richest finds were from a villa that came to be called the Villa dei Papiri, because it also yielded upward of a thousand papyrus rolls--the only library ever to have been recovered from the classical world. To the great excitement of contemporaries, the papyri held out the tantalizing possibility of the rediscovery of lost masterpieces by classical writers.
Written for the general reader, this introduction to the ancient library describes the long and difficult history of attempts to unwind the damaged rolls. Sider discusses the texts that have been deciphered and puts them in the context of literacy and Roman society of the time. He describes the how the ancient books were created from papyrus, and provides an account of attitudes toward books in Greece and Rome. He also surveys the private and civic libraries of the ancient world. This thoroughly researched and engaging book will be enjoyed by any reader with an interest in classical studies.

There's no such thing as too many books, simply not enough places to put them Decluttering is all the rage, but what do you do when your preferred interior decor is miles of overstuffed bookshelves? If you can't bring yourself to clear your collection, SHELF RESPECT will validate your life choices. Do you alphabetise your books or organise by genre... or (heaven forbid) colour? Have you merged your collection with your other half's? (And do you write your name inside the cover, just in case?) Do you keep all the books you've read, or only the most cherished? Is there such a thing as too many books? (No.) Bound to provoke (good-natured) debate between Bibliophiles, SHELF RESPECT is a charmingly illustrated book in defence of towering TBR piles and overflowing shelves... no matter how you choose to organise them.

This collection of essays examines how the paratextual apparatus of medieval manuscripts both inscribes and expresses power relations between the producers and consumers of knowledge in this important period of intellectual history. It seeks to define which paratextual features - annotations, commentaries, corrections, glosses, images, prologues, rubrics, and titles - are common to manuscripts from different branches of medieval knowledge and how they function in any particular discipline. It reveals how these visual expressions of power that organize and compile thought on the written page are consciously applied, negotiated or resisted by authors, scribes, artists, patrons and readers. This collection, which brings together scholars from the history of the book, law, science, medicine, literature, art, philosophy and music, interrogates the role played by paratexts in establishing authority, constructing bodies of knowledge, promoting education, shaping reader response, and preserving or subverting tradition in medieval manuscript culture.

The University of Wales Trinity Saint David was originally founded in 1822 as St David's College, Lampeter. It is now the oldest higher education collegiate institution in Wales, and in its two hundred years of history has been the recipient of many fascinating and rare manuscripts, early printed books, beautifully illustrated volumes, and rare publications from broadsheets to journals. These were largely received through the generous donations of many benefactors, including the institution's founder Bishop Thomas Burgess of St Davids, with the collection housed today in the Roderic Bowen Library on the Lampeter campus. This fully illustrated volume contains a selection from the many thousands of works spanning more than seven hundred years, with short essays by scholars whose knowledge and appreciation of the works are unrivalled, revealing the riches of what was once known as 'the greatest little library in Wales'.

This book presents the story of a unique collection of 140 manuscripts of 'learned magic' that was sold for a fantastic sum within the clandestine channels of the German book trade in the early eighteenth century. The book will interpret this collection from two angles - as an artefact of the early modern book market as well as the longue-duree tradition of Western learned magic -, thus taking a new stance towards scribal texts that are often regarded as eccentric, peripheral, or marginal. The study is structured by the apparent exceptionality, scarcity, and illegality of the collection, and provides chapters on clandestine activities in European book markets, questions of censorship regimes and efficiency, the use of manuscripts in an age of print, and the history of learned magic in early modern Europe. As the collection has survived till this day in Leipzig University Library, the book provides a critical edition of the 1710 selling catalogue, which includes a brief content analysis of all extant manuscripts. The study will be of interest to scholars and students from a variety of fields, such as early modern book history, the history of magic, cultural history, the sociology of religion, or the study of Western esotericism.

When does a book that is merely old become a rarity and an object of desire? David McKitterick examines, for the first time, the development of the idea of rare books, and why they matter. Studying examples from across Europe, he explores how this idea took shape in the sixteenth and seventeenth centuries, and how collectors, the book trade and libraries gradually came together to identify canons that often remain the same today. In a world that many people found to be over-supplied with books, the invention of rare books was a process of selection. As books are one of the principal means of memory, this process also created particular kinds of remembering. Taking a European perspective, McKitterick looks at these interests as they developed from being matters of largely private concern and curiosity, to the larger public and national responsibilities of the first half of the nineteenth century.

Managing Readers explores the fascinating interchange between text and margin, authorship and readership in early modern England. Printed marginalia did more than any other material feature of book production in the period between 1540 and 1700 to shape the experience of reading. William W. E. Slights considers overlooked evidence of the ways that early modern readers were instructed to process information, to contest opinions, and to make themselves into fully responsive consumers of texts.
The recent revolution in the protocols of reading brought on by computer technology has forced questions about the nature of book-based knowledge in our global culture. Managing Readers traces changes in the protocols of annotation and directed reading--from medieval religious manuscripts and Renaissance handbooks for explorers, rhetoricians, and politicians to the elegant clear-text editions of the Enlightenment and the hypertexts of our own time. Developing such concepts as textual authority, generic difference, and reader-response, Slights demonstrates that printed marginalia were used to confirm the authority of the text and to undermine it, to supplement "dark" passages, and to colonize strategic hermeneutic spaces. The book contains twenty-two illustrations of pages from rare-book archives that make immediately clear how distinctive the management of the reading experience was during the first century-and-a-half of printing in England.
William W. E. Slights is Professor of English, University of Saskatchewan. He is also author of "Ben Jonson and the Art of Secrecy,"

Presidents, Prime Ministers, Chancellors and Secretary Generals of totalitarian states in the twentieth century have been highly conscious of the need to present a national image suited to the new political culture they sought to inculcate. In these regimes, state-sanctioned art performed a key function, giving visual dimension to an abstract political ideology. There is a striking similarity between the idealized images from these countries. This book presents about fifty postcards from the Soviet Union, Germany, Italy, Spain, and China, between 1920s and the 1970s. While some of the images are of a high aesthetic calibre, others are simply intended to portray a vernacular socialist realism or to cultivate the cult of the leader. Taken together, they provide a fascinating look at the art of power and its expression at a time of political upheaval and experiment.

When award-winning journalist Dave Jamieson rediscovered his childhood baseball card collection he figured that now was the time to cash in on his "investments." But when he tried the card shops, they were nearly all gone, closed forever. eBay was no help, either. Baseball cards were selling for next to nothing. What had happened? In Mint Condition, the first comprehensive history of this American icon, Jamieson finds the answers and much more. In the years after the Civil War, tobacco companies started slipping baseball cards into cigarette packs as collector's items, launching a massive advertising war. Before long, the cards were wagging the cigarettes. In the 1930s, baseball cards helped gum and candy makers survive the Great Depression, and kept children in touch with the game. After World War II, Topps Chewing Gum Inc. built itself into an American icon, hooking a generation of baby boomers on bubble gum and baseball cards. In the 1960s, royalties from cards helped to transform the players' union into one of the country's most powerful, dramatically altering the business of the game. And in the '80s and '90s, cards went through a spectacular bubble, becoming a billion-dollar-a-year industry before all but disappearing. Brimming with colorful characters, this is a rollicking, century-spanning, and extremely entertaining history.

Throughout the history of Christianity, men and women have wrestled with the challenge of how to interpret, and how to follow, the Gospels. Intrinsic to this process is the concept of "reform", a recognition that changes is necessary in order to return to a more authentic Christian life. The approximately thirty-five manuscripts presented here trace this process from the twelfth to the sixteenth centuries through the texts that inspired reform movements and communicated their ideas to others.

There's far more to vintage football programmes than optimistic manager's notes, unreliable teamsheets and grudging opposition 'pen pictures'. Before the era of the standardised corporate brochure, every club's programme had a different, unique personality, and played its part in the precious ritual of going to the match. Last weekend's action shots provided a foretaste of the excitement; the A-Z scoresheet provided a live lookout on the rest of the League, while 'At Home With - ' provided a peephole into a star's domestic life. Remember the allure of the Souvenir Shop ads? Football League Review centrespreads? 'Girl of the Match'? From the 'ground picture' cover era through the 'groovy' and 'colour action' phases to the dawn of clipart, programmes from our nostalgic 60s-90s Golden Age amount to a (slightly crumpled) pocket history of graphic design. Packed with pictures and memories, Fully Programmed offers an irresistible window back into more innocent times.