Pier Giorgio Borbone
580 California St., Suite 400
San Francisco, CA, 94104
"The Chaldean Business. The Beginnings of East Syriac Typography and the Profession of Faith of Patriarch Elias (Vat. Ar. 83, ff. 117-126)", in Miscellanea Bibliothecae Apostolicae Vaticanae 20 (2014), 211-258
https://doi.org/10.1400/232042
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Abstract
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The study investigates the origins of East Syriac typography through the examination of a pivotal manuscript (Vat. Ar. 83) that includes the profession of faith of Patriarch Elias. It contextualizes the manuscript within the broader historical and cultural framework of Chaldean intellectual traditions and its typographical developments. The analysis of this document not only sheds light on typographical practices but also highlights the interplay between textual production and religious identity among the East Syriac communities.
Key takeawaysAI
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- The 1555 editio princeps of the New Testament in Syriac marked a significant milestone in Syriac typography.
- Moses of Mardin played a pivotal role in securing a grant for the creation of Syriac characters.
- Syriac typography emerged amid cultural interests highlighted in Wilkinson's 2007 work.
- The printed text incorporated handwritten characters due to unavailability of types for certain languages.
- The character design was influenced by the handwriting of monk Elias from the fifth Lateran Council.
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FAQs
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What were the key contributions to the 1555 Syriac New Testament production?
The 1555 Syriac New Testament was primarily developed through the efforts of Johann Albrecht Widmanstetter and Guillaume Postel, alongside crucial input from Syriac-Orthodox priest Moses of Mardin.
How does this work characterize the cultural climate of Syriac studies?
The research indicates that an increased interest in Syriac studies emerged in the early 2000s, as seen in Robert J. Wilkinson's 2007 work highlighting these cultural developments.
What unique features distinguish the typesetting of Syriac characters in this edition?
The Syriac characters printed in this edition are modeled after the handwriting of monk Elias, blending serto text with larger estrangelo initials at the beginning of paragraphs.
How were other Oriental characters treated in the 1555 publication?
Arabic, Ethiopian, Coptic, and Cyrillic characters were handwritten in blank spaces due to the unavailability of types, demonstrating adaptiveness in the printing process.
What was the follow-up on Moses of Mardin's grant for Syriac types?
Despite securing a grant in Rome for Syriac character production, Moses of Mardin's efforts met with no follow-up, leading to his departure from the city.