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Questo articolo è uno studio preliminare su alcuni degli autografi contenuti nella corrispondenza Francesco Salvolini - Costanzo Gazzera conservata nella Biblioteca Comunale di Faenza, che dimostrerebbero che molti degli studi inediti di Champollion ritrovati nelle Carte Salvolini (conservate a Parigi) sarebbero passati nelle mani dell'egittologo faentino con il consenso del decifratore dei geroglifici.
2020 •
In Paris, the manuscript market appears in the early 20's of the 19th c. Fixed-price catalogues and auction catalogues are regularly published, describing each document in detail. Such descriptions being highly formalised, it is possible to extract and structure them (almost) automatically, and thus create a database of sold manuscripts in 19th c. Paris.
Guido del Giudice
GIORDANO BRUNO: A FINE BIBLIOPHILE2014 •
The love for books and libraries of a great philosopher.
Hipogrifo, 8.2. pp. 509-531
Techniques and Instruments for Studying the Autograph Manuscripts of Lope de Vega2020 •
Lope de Vega's autographs allow us to approach the genesis of a play, analyse the cross-outs, changes and additions of the playwright and understand his modus operandi. Moreover, these documents also contain annotations and corrections of other agents involved in the Golden Age Theatre market that could substantially modify the text. On many occasions, the philological and codicological analysis only allows making hypotheses about what happened and does not offer reliable solutions to questions about the composition of theatrical text. Through this paper, we present the results of the analysis of several of Lope de Vega autograph manuscripts done with techniques and instruments related to photography and spectroscopy ranging from spectral photography to X-ray fluorescence. We shall demonstrate that the application of these techniques to the study of manuscripts from the Spanish Drama of the Golden Age will also make it possible to obtain information that is relevant to and valuable in delving into the development and circulation of a particular work, but also in gaining a much more complete understanding of the formation of Spanish classical theatre.
2014 •
Since the discovery of a copy of a Shakespeare First Folio last November in the Saint-Omer public library, the scholars’ attention has focussed on the identity of the mysterious Nevill, whose name stares at any reader opening the book. His identification, it is assumed, must help date at least some of the annotations in the volume itself. The book, however, possesses other distinctive marks, possibly marks of ownership, which are perhaps less prominent at first sight. On nine occasions in the volume the letters P and S appear, hand-stamped in ink at the bottom of the page, either both on the same page, or on two consecutive pages. Hand-stamped initials or letters in books are highly unusual. The placement of the PS marks in the Folio is also odd, although a regular pattern seems to emerge, as we can show. The presence of the letters PS raises many questions. What could have driven anyone to want to mark a book at regular intervals? This short article offers a possible identification for Nevill and describes the marking, as well as other annotations in the Folio. It also offers some hypotheses to explain the presence of the marks.
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