Diane > 01-04-2016, 01:54 PM
Sam G > 01-04-2016, 03:38 PM
(01-04-2016, 12:56 PM)ReneZ Wrote: You are not allowed to view links. Register or Login to view.You are not allowed to view links. Register or Login to view.
Of course, it is also possible that the book was once bound without the painting, then disassembled, painted and rebound. This might explain a couple of things, e.g. the fact that the new binding was done with some of the paint still fresh enough to leave an imprint on the facing page (like in the above example).
Oocephalus > 01-04-2016, 09:22 PM
MarcoP > 18-04-2016, 02:57 PM
(31-03-2016, 10:07 PM)Anton Wrote: You are not allowed to view links. Register or Login to view.There is one serious consideration which seems to have been forgotten here.
If the scribe indeed went for the bifolio model, with the bifolios not to be bound on the folio-basis, then why does the text not follow this model and is put down as if the stuff needs to be bound on the folio basis?
There is a good example of f101, where the text flows across two adjacent folios of a tri-folio, both in the recto and verso sides.
Anton > 18-04-2016, 04:11 PM
MarcoP > 18-04-2016, 05:05 PM
(18-04-2016, 04:11 PM)Anton Wrote: You are not allowed to view links. Register or Login to view.Hi Marco,
I think we should distinguish between two cases:
a) a manuscript is written as if it is to be bound, and it is intended to be bound in some future time (no matter whether this intention comes to reality or not)
OR:
b) a manuscript is written as if it is to be bound, but it is intended to be never bound.
It is not clear from your description whether the case was a) or b). If it was really b), then that's indicative indeed.
In other words, I mean that unbound manuscripts just may have failed to get an occasion to be bound, but they were designed with binding in mind.