The Vergilius Vaticanus, also known as Vatican Virgil (Vatican, Biblioteca Apostolica, Cod. Vat. lat. 3225), is a Late Antique illuminated manuscript containing fragments of Virgil's Aeneid and Georgics. It was made in Rome in around 400 CE, and is one of the oldest surviving sources for the text of the Aeneid. It is the oldest of just three remaining ancient illustrated manuscripts of classical literature.

Contents

The two other surviving illustrated manuscripts of classical literature are the Vergilius Romanus and the Ambrosian Iliad. The Vergilius Vaticanus is not to be confused with the Vergilius Romanus (Vatican City, Biblioteca Apostolica, Cod. Vat. lat. 3867) or the unillustrated Vergilius Augusteus, two other ancient Vergilian manuscripts in the Biblioteca Apostolica.

Virgil created a classic of Roman literature in the Aeneid. He used vivid locations and emotions to create images through poetry in the story. It discusses Aeneas and his Trojan comrades wandering into the seas until reaching their final destination in Italy after escaping the city of Troy after the Trojan War. The narrative includes themes of love, loss, and war. The Trojan War is an inspiration and a catalyst in a long line of epic poetry that came after Virgil.

Attribution

The illustrations were added by three different painters, all of whom used iconographic copybooks. The first worked on the Georgics and parts of the Eclogues; the other two worked on the Aeneid. Each individual artist's illustrations are apparent based on his ability. The first artist is distinguished by his knowledge of spatial perspective and anatomy. His illustrations creates in the Georgics and Eclogues focus on his skill of creating distances and landscapes. The illustration of the herd being led to water is found in the artist's illustration of the Georgics. Each figure and object in the background is distinguishable with a realistic spatial arrangement.

Compared to the first artist, the second artist, who worked on the Aeneid, lacks the same familiarity with spatial perspective. The inclusion of crowds with buildings, people and mountains creates a striking contrast in the discovery of Carthage. There are ideas of spatial perspective, realistic space and figures in the third artist's illustrations. He used his ability to depict a realistic background based on his skill in human anatomy. One example was where the deceased Dido lays in repose in her decorated bedchamber in the Lamentation Over Dido. If, as was common practice at the time, the manuscript contained all of the canonical works of Virgil, the manuscript would originally have had about 440 leaves and 280 illustrations. The illustrations are contained within frames and include landscapes and architectural and other details.

Many of the folios survive in fragments. Some fragments are grouped in fours or fives. There are 50 damaged illustrations in poor condition. It is simple to reconstruct the original book based on each fragment.

Of the several editions of Virgil, the Vergilius Vaticanus is the first edition in codex form. It may have been copied from a set of scrolls, which caused a lack of clarity with the transmission of the text. There was a well-organized workshop that created the Vergilius Vaticanus. By leaving spaces at certain places in the text, a master scribe planned the inclusion of illustrations when copying the text.

Out of tradition and convenience, there were iconographic models that were from three different artists who filled in the illustrations. For the painter to finish this work, a set of illustrated rolls was studied and adapted which were to serve as iconographic models for the Aeneid.

These kinds of small illustrations were placed in the columns of text which was written in papyrus style on rolls.

Text and script

The text was written by a single scribe in rustic capitals. As was common at the time, words are not separated by whitespace; a dot is used instead. One scribe used a late antique brown ink to write the entire text. Using eight-power magnification, the ink is grainless which appears smooth and well-preserved. The Vergilius Vaticanus is in very good condition, compared to other manuscripts from the same time period, which had been inefficiently prepared causing the parchment to break from oak gallnuts and ferrous sulphate. For distinctions to be made between thick and thin strokes the scribe used a trimmed broad pen. The pen was nearly held at 60 degrees where most strokes would occur.

In 1448, the Italian humanist Giovanni Pontano studied and collected the manuscript. At that time, the manuscript was missing around 164 folios. In addition, several folios appeared to have been cut by someone else. In around 1514, the manuscript, after it disappeared and suffered more dismemberment, showed up in Rome in the circle of Raphael where several of the surviving illustrations were copied and adapted for other purpose. People feared that the manuscript would eventually completely deteriorate, so a copy of all the illustrations from the manuscript was created in the circle of Raphael (now Princeton MS104). In 1513, the manuscript was transferred to Rome, to the library of the humanist Pietro Bembo. When Pope Leo X died in 1521, Bembo retired to Padua and brought the manuscript with him. Next, Pietro Bembo passed down the manuscript to his son, Torquato Bembo. Finally in 1579, the manuscript returned to Rome and some folios got trimmed down. Fulvio Orsini bought the manuscript from Torquato Bembo. Fulvio Orsini eventually bequeathed his library to the Vatican library in 1600.  Shortly after 1642, the manuscript was altered due to rebinding the codex and added patches on the parchment.

Facsimiles

The manuscript was published with color reproductions in 1980.

Print Facsimile: Wright, David H. Vergilius Vaticanus: vollständige Faksimile-Ausgabe im Originalformat des Codex Vaticanus Latinus 3225 der Biblioteca Apostolica Vaticana. Graz, Austria: Akademische Druck- u. Verlagsanstalt, 1984.

Digital Facsimile: Vatican Library

All the illustrations are online, with commentary, in Wright, David H., The Vatican Vergil, a Masterpiece of Late Antique Art, Berkeley, University of California Press, 1993, google books, full online text

Notes

References

  • Calkins, Robert G. Illuminated Books of the Middle Ages. Ithaca, New York: Cornell University Press, 1983.
  • Walther, Ingo F. and Norbert Wolf. Codices Illustres: The world's most famous illuminated manuscripts, 400 to 1600. Köln, TASCHEN, 2005.
  • Weitzmann, Kurt. Late Antique and Early Christian Book Illumination. New York: George Braziller, 1977.
  • Weitzmann, Kurt, ed., Age of spirituality: late antique and early Christian art, third to seventh century, no. 203 & 224, 1979, Metropolitan Museum of Art, New York, ; full text available online from The Metropolitan Museum of Art Libraries
  • Stevenson, Thomas B. Miniature decoration in the Vergilius Vaticanus : a study in late antique iconography. Tübingen, Verlag E. Wasmuth, 1983.
  • David Wright, “From Copy to Facsimile: A Millennium of Studying the Vatican Vergil,” The British Library Journal, Vol. 17, No. 1 (Spring 1991), 12-35.
  • Wright, David H., The Vatican Vergil, a Masterpiece of Late Antique Art . Berkeley, University of California Press, 1993, google books, full online text
  • Wright, David H. Codicological notes on the Vergilius Romanus (Vat. lat. 3867). Vatican City, Biblioteca apostolica vaticana, 1992.
  • Complete reproduction of Vergilius Vaticanus (Digital version at DigitaVaticana)
  • More information at Earlier Latin Manuscripts