YEARBOOK OF THE ALAMIRE FOUNDATION
YEARBOOK OF THE ALAMIRE FOUNDATION YEARBOOK OF THE ALAMIRE FOUNDATION
94 LUMINITA FLOREA open buds comfortably nesting Jesse’s descendants, including King David with a harp and the Virgin Mary with the Child at the center. Tree-shaped schemes showing the genealogy of Christ accompany commentaries to both the Old and the New Testament – such as the illuminated copy possibly produced in Italy around 1450 of the Postilla litteralis in Vetus Testamentum by Nicholas of Lyra, now The Hague, Koninklijke Bibliotheek, MS MMW 10 C22. 58 The ‘point of departure’ in a genealogical tree may be found in the head of a family’s common ancestor – the great-great-grandfather (abavus) – as is the case in medieval canon law treatises on consanguinity. Sometimes the idea of a tree is only suggested in illustrations such as the one on folio 3v in New York, The Union Theological Seminary, MS 08: there are no visible branches here, just words designating the types of kinship within the family, all emanating from the abavus and abava (mother of a great-grandfather or of a great-grandmother), all under papal approval and blessing. 59 At other times, the approach is more naturalistic, as a whole group of characters related through blood perch like birds on the branches of a tree of consanguinity drawn on folio 15v of Paris, Bibliothèque Nationale, MS f.fr. 202. 60 Drawings of arbors of virtues are common in tracts on moral philosophy, where humilitas generates hope (spes), charity (caritas), faith (fides), and joy (gaudium), or in florilegia assembled for the use of some religious order – such as the Franciscan compilation found in Berkeley, Robbins Collection, MS 88, which includes trees of spiritual love and contemplative virtues on folio 404r (see figure 2). 61 Furthermore, trees of spiritual knowledge frequently and freely commix with trees of consanguinity and affinity, as the principles needing demonstration are similar. 62 And then, of course, there is the Biblical tree of knowledge, bearing the forbidden apple, the tempting fruit, a vehicle – if not source – of man’s original sin and cause for eternal tears and guilt. Every illuminated Bible includes one. Whether one looks at an aerial root or at one firmly affixed into the soil, it is from this point of origin that all other components of the tree-system sprout; as the secondary branches evolve and multiply, so do the elements affixed to them: buds, 58 See The Hague, Handschriften. 59 Three images from the manuscript, showing a tree of consanguinity, one of affinity, and one of spiritual cognition, respectively, have been digitized as part of the Digital scriptorium database; they can be seen at . 60 See H. SCHADT, Die Darstellungen der Arbores Consanguinitatis und der Arbores Affinitatis: Bildschemata in juristischen Handschriften, Tübingen, 1982, plate 158. 61 For a catalogue description, see L. FLOREA, Catalogue of Manuscripts in the Robbins Collection, School of Law, University of California at Berkeley, . For a digital reproduction of the illustration, see Digital scriptorium, . 62 See, for instance, New York, The Union Theological Seminary, MS 08, fols. 7v and 10v, respectively; for a digital image, see .
VIRTUS SCRIPTORIS: STEPS TOWARDS A TYPOLOGY OF ILLUSTRATION BORROWING IN MUSIC THEORY TREATISES Figure 2. The arbor amoris (tree of [spiritual] love). University of California, Berkeley, Robbins Collection, MS 88, fol. 404r. ( © University of California, Berkeley). flowers, leaves, fruit, birds, extended family members, or musical rhythmic values. This is done with careful preservation of rule and order in all illustrations, whether in music theory tracts or texts belonging in other disciplines: both the vertical and horizontal vectors are strictly regulated, that is, relations of authority-submission as well as relations of equality are correctly represented. Many more examples can be surmised, but for now these should suffice to illustrate the concept of migration of visual signs from one discipline to another and back again. Surely the migration was not unidirectional, as pictures seen in a calendar, atlas, devotional book, and so on, might have inspired the copyist of a music theory manuscript – and vice-versa. 95
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VIRTUS SCRIPTORIS: STEPS TOWARDS A TYPOLOGY <strong>OF</strong> ILLUSTRATION BORROWING IN MUSIC <strong>THE</strong>ORY TREATISES<br />
Figure 2. The arbor amoris (tree of [spiritual] love). University of California, Berkeley,<br />
Robbins Collection, MS 88, fol. 404r. ( © University of California, Berkeley).<br />
flowers, leaves, fruit, birds, extended family members, or musical rhythmic values.<br />
This is done with careful preservation of rule and order in all illustrations, whether<br />
in music theory tracts or texts belonging in other disciplines: both the vertical and<br />
horizontal vectors are strictly regulated, that is, relations of authority-submission as<br />
well as relations of equality are correctly represented.<br />
Many more examples can be surmised, but for now these should suffice to illustrate<br />
the concept of migration of visual signs from one discipline to another and back<br />
again. Surely the migration was not unidirectional, as pictures seen in a calendar,<br />
atlas, devotional book, and so on, might have inspired the copyist of a music theory<br />
manuscript – and vice-versa.<br />
95
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