http://makingrenmanuscripts.exhibits.library.upenn.edu/files/original/578beb951642fd29b4e045f9a678f079.png aa7a98445ed18dd992d737eb3903a765 http://makingrenmanuscripts.exhibits.library.upenn.edu/files/original/16c4ad88101dc5c15cb77d7f43cf5ab8.png 8b4526312811ab53c8d4ac45bb8be826 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 4. Crafting the Codex; From Pen to Press and Back Again Subject The topic of the resource From Pen to Press and Back Again Description An account of the resource The invention (in the European context) of movable type in the Rhine Valley around 1455 was a pragmatic technological response to a centuries-long buildup in the demand for books. Logically, the first printers sought to have their editions resemble manuscripts as much as possible. Since the ability to print in multiple colors remained limited, decorations were frequently added by hand after printing. Accordingly, the classically inspired <em>all’antica</em> vocabulary explored in the previous section could be carefully applied around the printed text block, as was done for handwritten books. Techniques for printing images had been developed toward the beginning of the fifteenth century, first through the woodcut technique and later through engraving. However, for high- output purposes like the mass printing of Books of Hours that occurred in Paris from the 1480s onwards, metalcuts were used. The quick coloring and gilding of these replicated images could result in a remarkably manuscript-like appearance. In other cases, a new printed volume could be joined to an existing manuscript. These flexible compendia were a useful means of transmitting specific information and a reminder that simply because a printed edition existed did not mean it was universally accessible. Such a variety of options, all commonly practiced in the first century of print, disproves the traditional idea that Gutenberg’s discovery heralded an abrupt rupture with the manuscript tradition. Manuscript transmission remained a mainstay, and, indeed, its ongoing practice in the age of print allowed it to take on new meanings. Creator An entity primarily responsible for making the resource Dr. Nicholas Herman Source A related resource from which the described resource is derived Making the Renaissance Manuscript; Discoveries From Philadelphia Libraries Language A language of the resource English Type The nature or genre of the resource Exhibition Catalogue Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <em>Speculum perfectionis</em> (Mirror of Perfection) Description An account of the resource This hybrid print and manuscript book consists of a printed edition of the fifteenth-century Franciscan mystic Hendrik Herp’s Mirror of Perfection.It is bookended by two eight-folio manuscript sections written and illustrated by Denis Faucher (1487–1562), a mystical poet and Benedictine monk, who spent the majority of his career at the Abbey of Lérins off the coast of Provence. Faucher’s poems are here mostly addressed to a scholasticate, a nun in the training period following the novitiate, and concern the attainment of spiritual perfection in the world. The poems are accompanied by two striking images, which he painted himself. The first shows a nun in a black habit being crucified, with a snake biting a heart, representing sin, entwined around her left arm, depicted here. The lit oil lamp the nun holds in her right hand represents faith and refers to the parable of the Wise Virgins (who tended their lamps). Creator An entity primarily responsible for making the resource Authors: Hendrik Herp and Denis Faucher; Illustrator: Denis Faucher; Printer: Sabio Date A point or period of time associated with an event in the lifecycle of the resource 1524 (printed portion); after 1524 (manuscript portion) Format The file format, physical medium, or dimensions of the resource Manuscript and printed book on paper, 134 fols. Identifier An unambiguous reference to the resource within a given context University of Pennsylvania, Ms. Codex 1620 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Italy (printed portion); France (manuscript poriton)