UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY
We present the results of a multifaceted study of an antiphonary—liturgical song book—presumably made in Venice in 1607, now in the Ringve, National Music Museum of Norway in Trondheim 1 . The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps....
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| Veröffentlicht in: | Radiocarbon 2024-12, Vol.66 (6), p.1718-1737 |
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| container_issue | 6 |
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| container_title | Radiocarbon |
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| creator | Rzadeczka-Juga, Izabela Nadeau, Marie-Josée Juga, Pjotr Zurbach, Damaris Grootes, Pieter M Svarva, Helene Seiler, Martin |
| description | We present the results of a multifaceted study of an antiphonary—liturgical song book—presumably made in Venice in 1607, now in the Ringve, National Music Museum of Norway in Trondheim
1
. The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps. The paper block consists of pages printed in black and red that include both song texts and music scores. The red ink is based on vermillion and red lead while the black ink is carbon based. The treads and cords were made of flax. The leather used was made from goat skin. Radiocarbon results confirmed the printing date. The antiphonary shows several signs of repair including the possibility of re-binding. Animal-based glue was used for the repairs as well as for the sizing of both original and repair paper. Two potential periods were identified for reparations, 1670–1710 AD and 1782–1830 AD. This case study was conducted prior to the opening of a new permanent exhibition, Soundtracks, at the Ringve Museum where the book is displayed. |
| doi_str_mv | 10.1017/RDC.2023.61 |
| format | Article |
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1
. The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps. The paper block consists of pages printed in black and red that include both song texts and music scores. The red ink is based on vermillion and red lead while the black ink is carbon based. The treads and cords were made of flax. The leather used was made from goat skin. Radiocarbon results confirmed the printing date. The antiphonary shows several signs of repair including the possibility of re-binding. Animal-based glue was used for the repairs as well as for the sizing of both original and repair paper. Two potential periods were identified for reparations, 1670–1710 AD and 1782–1830 AD. This case study was conducted prior to the opening of a new permanent exhibition, Soundtracks, at the Ringve Museum where the book is displayed.</description><identifier>ISSN: 0033-8222</identifier><identifier>EISSN: 1945-5755</identifier><identifier>DOI: 10.1017/RDC.2023.61</identifier><language>eng</language><publisher>New York, USA: Cambridge University Press</publisher><subject>Book binding ; Cardboard ; Clamps ; Collaboration ; Conference Paper ; Cords ; Flax ; Lead oxides ; Leather ; Museums ; Musical scores ; Red lead ; Sound tracks ; Treads</subject><ispartof>Radiocarbon, 2024-12, Vol.66 (6), p.1718-1737</ispartof><rights>The Author(s), 2023. Published by Cambridge University Press on behalf of University of Arizona</rights><rights>The Author(s), 2023. Published by Cambridge University Press on behalf of University of Arizona. This work is licensed under the Creative Commons Attribution License This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution and reproduction, provided the original article is properly cited. (the “License”). Notwithstanding the ProQuest Terms and Conditions, you may use this content in accordance with the terms of the License.</rights><lds50>peer_reviewed</lds50><oa>free_for_read</oa><woscitedreferencessubscribed>false</woscitedreferencessubscribed><cites>FETCH-LOGICAL-c294t-85a7fdaf78adb3799371fc4bdb5f8999d2dfd76bddd9ab1991816aeb182a88083</cites><orcidid>0000-0001-8501-4767 ; 0000-0003-4267-0478 ; 0000-0002-0542-2355 ; 0000-0003-4265-3168</orcidid></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktohtml>$$Uhttps://www.cambridge.org/core/product/identifier/S0033822223000619/type/journal_article$$EHTML$$P50$$Gcambridge$$Hfree_for_read</linktohtml><link.rule.ids>164,314,776,780,27901,27902,55603</link.rule.ids></links><search><creatorcontrib>Rzadeczka-Juga, Izabela</creatorcontrib><creatorcontrib>Nadeau, Marie-Josée</creatorcontrib><creatorcontrib>Juga, Pjotr</creatorcontrib><creatorcontrib>Zurbach, Damaris</creatorcontrib><creatorcontrib>Grootes, Pieter M</creatorcontrib><creatorcontrib>Svarva, Helene</creatorcontrib><creatorcontrib>Seiler, Martin</creatorcontrib><title>UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY</title><title>Radiocarbon</title><addtitle>Radiocarbon</addtitle><description>We present the results of a multifaceted study of an antiphonary—liturgical song book—presumably made in Venice in 1607, now in the Ringve, National Music Museum of Norway in Trondheim
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. The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps. The paper block consists of pages printed in black and red that include both song texts and music scores. The red ink is based on vermillion and red lead while the black ink is carbon based. The treads and cords were made of flax. The leather used was made from goat skin. Radiocarbon results confirmed the printing date. The antiphonary shows several signs of repair including the possibility of re-binding. Animal-based glue was used for the repairs as well as for the sizing of both original and repair paper. Two potential periods were identified for reparations, 1670–1710 AD and 1782–1830 AD. This case study was conducted prior to the opening of a new permanent exhibition, Soundtracks, at the Ringve Museum where the book is displayed.</description><subject>Book binding</subject><subject>Cardboard</subject><subject>Clamps</subject><subject>Collaboration</subject><subject>Conference Paper</subject><subject>Cords</subject><subject>Flax</subject><subject>Lead oxides</subject><subject>Leather</subject><subject>Museums</subject><subject>Musical scores</subject><subject>Red lead</subject><subject>Sound tracks</subject><subject>Treads</subject><issn>0033-8222</issn><issn>1945-5755</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2024</creationdate><recordtype>article</recordtype><sourceid>IKXGN</sourceid><recordid>eNpt0EFLwzAYxvEgCs7pyS9Q8CideZOmSY5ldmuhtFK7wU4haRrZcG6m28Fvb8cGXjy9lx_PC3-EHgFPAAN_qV-nE4IJncRwhUYgIxYyztg1GmFMaSgIIbforu83GBOIBR8hWJR1skyLIi_nQZOlQZa_N1W9CqpZkATLtEybPCmDpGzyt6wqk3p1j26c_uy7h8sdo8UsbaZZWFTzfJoUYUtkdAgF09xZ7bjQ1lAuJeXg2shYw5yQUlpineWxsdZKbUBKEBDrzoAgWggs6Bg9nXf3fvd97PqD2uyO_mt4qSgwLoAwTgb1fFat3_W975za-_VW-x8FWJ2aqKGJOjVRMQw6vGi9NX5tP7q_0f_8LxDqXOU</recordid><startdate>20241201</startdate><enddate>20241201</enddate><creator>Rzadeczka-Juga, Izabela</creator><creator>Nadeau, Marie-Josée</creator><creator>Juga, Pjotr</creator><creator>Zurbach, Damaris</creator><creator>Grootes, Pieter M</creator><creator>Svarva, Helene</creator><creator>Seiler, Martin</creator><general>Cambridge University Press</general><scope>IKXGN</scope><scope>AAYXX</scope><scope>CITATION</scope><orcidid>https://orcid.org/0000-0001-8501-4767</orcidid><orcidid>https://orcid.org/0000-0003-4267-0478</orcidid><orcidid>https://orcid.org/0000-0002-0542-2355</orcidid><orcidid>https://orcid.org/0000-0003-4265-3168</orcidid></search><sort><creationdate>20241201</creationdate><title>UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY</title><author>Rzadeczka-Juga, Izabela ; Nadeau, Marie-Josée ; Juga, Pjotr ; Zurbach, Damaris ; Grootes, Pieter M ; Svarva, Helene ; Seiler, Martin</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c294t-85a7fdaf78adb3799371fc4bdb5f8999d2dfd76bddd9ab1991816aeb182a88083</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2024</creationdate><topic>Book binding</topic><topic>Cardboard</topic><topic>Clamps</topic><topic>Collaboration</topic><topic>Conference Paper</topic><topic>Cords</topic><topic>Flax</topic><topic>Lead oxides</topic><topic>Leather</topic><topic>Museums</topic><topic>Musical scores</topic><topic>Red lead</topic><topic>Sound tracks</topic><topic>Treads</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Rzadeczka-Juga, Izabela</creatorcontrib><creatorcontrib>Nadeau, Marie-Josée</creatorcontrib><creatorcontrib>Juga, Pjotr</creatorcontrib><creatorcontrib>Zurbach, Damaris</creatorcontrib><creatorcontrib>Grootes, Pieter M</creatorcontrib><creatorcontrib>Svarva, Helene</creatorcontrib><creatorcontrib>Seiler, Martin</creatorcontrib><collection>Cambridge Journals Open Access</collection><collection>CrossRef</collection><jtitle>Radiocarbon</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Rzadeczka-Juga, Izabela</au><au>Nadeau, Marie-Josée</au><au>Juga, Pjotr</au><au>Zurbach, Damaris</au><au>Grootes, Pieter M</au><au>Svarva, Helene</au><au>Seiler, Martin</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY</atitle><jtitle>Radiocarbon</jtitle><addtitle>Radiocarbon</addtitle><date>2024-12-01</date><risdate>2024</risdate><volume>66</volume><issue>6</issue><spage>1718</spage><epage>1737</epage><pages>1718-1737</pages><issn>0033-8222</issn><eissn>1945-5755</eissn><abstract>We present the results of a multifaceted study of an antiphonary—liturgical song book—presumably made in Venice in 1607, now in the Ringve, National Music Museum of Norway in Trondheim
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. The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps. The paper block consists of pages printed in black and red that include both song texts and music scores. The red ink is based on vermillion and red lead while the black ink is carbon based. The treads and cords were made of flax. The leather used was made from goat skin. Radiocarbon results confirmed the printing date. The antiphonary shows several signs of repair including the possibility of re-binding. Animal-based glue was used for the repairs as well as for the sizing of both original and repair paper. Two potential periods were identified for reparations, 1670–1710 AD and 1782–1830 AD. This case study was conducted prior to the opening of a new permanent exhibition, Soundtracks, at the Ringve Museum where the book is displayed.</abstract><cop>New York, USA</cop><pub>Cambridge University Press</pub><doi>10.1017/RDC.2023.61</doi><tpages>20</tpages><orcidid>https://orcid.org/0000-0001-8501-4767</orcidid><orcidid>https://orcid.org/0000-0003-4267-0478</orcidid><orcidid>https://orcid.org/0000-0002-0542-2355</orcidid><orcidid>https://orcid.org/0000-0003-4265-3168</orcidid><oa>free_for_read</oa></addata></record> |
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| language | eng |
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| source | Free Full-Text Journals in Chemistry; Cambridge University Press Journals Complete |
| subjects | Book binding Cardboard Clamps Collaboration Conference Paper Cords Flax Lead oxides Leather Museums Musical scores Red lead Sound tracks Treads |
| title | UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY |
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