Andreas Janke | Staatsbibliothek zu Berlin - Preussischer Kulturbesitz (original) (raw)

Articles by Andreas Janke

Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies, 2024

(Andreas Janke, Claudia Colini, Kyle Ann Huskin, Sebastian Bosch, Ivan Shevchuk) – In this articl... more (Andreas Janke, Claudia Colini, Kyle Ann Huskin, Sebastian Bosch, Ivan Shevchuk) – In this article, the usefulness of taking a second look at MSI data is demonstrated by analyzing some visual peculiarities that emerged after MSI
and statistical image processing of the three incomplete music
manuscripts.

New Light on Old Manuscripts. The Sinai Palimpsests and Other Advances in Palimpsest Studies, ed. by Claudia Rapp, Giulia Rossetto, Jana Grusková, Grigory Kessel (Veröffentlichungen zur Byzanzforschung 45 Denkschriften der phil.-hist. Klasse 547 ), 2023

Jahrbuch für Buch- und Bibliotheksgeschichte, Oct 2022

with Miriam Wendling

Manuscript Cultures, 2022

Surprisingly, indexes and tables of contents referring to music in manuscripts before c.1500 rare... more Surprisingly, indexes and tables of contents referring to music in manuscripts before c.1500 rarely contain musical notation. One remarkable and hitherto little-noticed example that uses musical notation throughout is the table of contents for thirty-four Credo melodies in the liturgical manuscript known as Pisa, Biblioteca Cateriniana, MS 219. To contextualise this Pisan table of contents in depth, I have analysed common procedures in other contemporary navigational tools in musical manuscripts. My focus was on settings for the Mass Ordinary, whose identical text can lead to ambiguities in indexes and tables of contents. Based on this investigation, a possible relationship between manuscript types and the way indexes or tables of contents are composed is discussed.

Exploring Written Artefacts. Objects, Methods, and Concepts, ed. by Jörg B. Quenzer (Studies in Manuscript Cultures, 25), 729-752, 2021

The nineteenth century saw a revival in the illumination of manuscripts in Europe, involving amat... more The nineteenth century saw a revival in the illumination of manuscripts in Europe, involving amateurs as well as professional painters. Today, however, a significant part of the resulting written artefacts are declared to be forgeries without strong evidence, which often hinders further investigation into their context of origin and use. The current study aims to precisely investigate these contexts in Italy. Manuscripts, that contain musical notation as well as illuminations will be focused on as case studies. Overall, this article illustrates the broad 19th-century interest in illuminated manuscripts and discusses contemporary ideas of the terms 'original' and 'copy' in relation to newly produced written artefacts.

Open Information Science, 2021

(with Sebastian Bosch) - The illuminations in two Italian manuscripts are still a mystery today. ... more (with Sebastian Bosch) - The illuminations in two Italian manuscripts are still a mystery today. Both manuscripts were based fully or partly on the Florentine Squarcialupi Codex (Florence, Biblioteca Medicea Laurenziana, Med. Pal. 87) dating from around 1410/15. With the help of a multi-analytical, non-destructive approach employing mobile instrumentation (XRF spectroscopy, visible reflectance spectroscopy and infrared reflectography), we examined the manuscripts Toronto, Thomas Fisher Rare Book Library, MSS 09700 and Düsseldorf, Kunstpalast, Inv. K 1925-67 for the first time with regard to their production processes. The identification of modern pigments allows them to be contextualized in illumination practices of the 19th century. Manuals of that time provide a wealth of information on specific illumination practices and the availability of writing and painting materials, which correlates with the actual artefacts.

The End of the Ars Nova in Italy: The San Lorenzo Palimpsest and Related Repertories, ed. by A. Calvia - S. Campagnolo - A. Janke - M. S. Lannutti - J. Nádas, Firenze, Sismel-Edizioni del Galluzzo (La Tradizione Musicale, 21; Studi e testi, 12), pp. 131–149, 2020

Two late Trecento manuscripts – the Squarcialupi Codex (Sq) and the San Lorenzo Palimpsest (SL) –... more Two late Trecento manuscripts – the Squarcialupi Codex (Sq) and the San Lorenzo Palimpsest (SL) – serve as witnesses to the fact that Donato da Firenze was a composer whose music was considered worthy of collecting in the first decades of the fifteenth century, a time long after the compositions’ creation. Beyond what we may glean from his surviving songs, we know very little about Donato and the musical circles to which he belonged. In this chapter, to better contextualize Donato, I will explore the different works of his selected by the compilers of five manuscripts.
My central thesis challenges the notion of the often described – but never unequivocally proven – chronological arrangement of composer sections within manuscripts and I argue that additional considerations obtained. In preparation for situating Donato within a group of composers involved in the production of compositions commissioned by Florentines, I undertake a hypothetical reconstruction of the missing leaves of the now-incomplete Donato section in SL. In the process, I suggest that SL originally contained a section devoted to compositions by Nicolò del Preposto.

in: Liturgical Books and Music Manuscripts with Polyphonic Settings of the Mass in Medieval Europe, ed. Oliver Huck and Andreas Janke (Musica Mensurabilis, 9), Hildesheim, 2020

Manuscript Cultures, 2018

(with Sebastian Bosch, Oliver Hahn, and Ivan Shevchuk) - This paper reports the outcome of an int... more (with Sebastian Bosch, Oliver Hahn, and Ivan Shevchuk) - This paper reports the outcome of an interdisciplinary team’s application of multispectral imaging techniques and material analysis to a music fragment from the first decades of the fifteenth century: Atri, Archivio Capitolare, Museo della Basilica Cattedrale, Biblioteca del Capitolo della Cattedrale, Frammento 17. This important parchment leaf has rarely been investigated since its discovery 45 years ago. Thanks to the applied techniques and methods (such as the evaluation of the data using the fingerprint model), it is now possible to discuss new evidence supporting conclusions regarding the fragment’s origin and afterlife.

in: Venedig – Luigi Nono und die komponierte Stadt. Zur musikalischen Präsenz und diskursiven Funktion der Serenissima, ed. Friedrich Geiger/Andreas Janke, Münster/New York, 2015

(with Friedrich Geiger)

Manuscript Cultures, 2014

(with Claire MacDonald ) - This paper details the findings presented at the International Confere... more (with Claire MacDonald ) - This paper details the findings presented at the International Conference on Natural Sciences and Technology in Manuscript Analysis held in Hamburg, Germany in December 2013 on the San Lorenzo Palimpsest (Florence, Archivio del Capitolo di San Lorenzo, Ms. 2211). The San Lorenzo Palimpsest contains over 200 secular compositions from the 14th and the beginning of the 15th centuries of invaluable importance to musicologists. However, most of these pieces have not been studied in detail due to the damage sustained in creation of the palimpsest. Recently, scholars and scientists from the University of Hamburg were granted the opportunity to image the palimpsest using an advanced multispectral system from the SFB 950 Manuskriptkulturen in Asien, Afrika und Europa’ / Centre for the Study of Manuscript Cultures (CSMC) in Hamburg.

in: Beyond 50 Years of Ars Nova Studies at Certaldo 1959–2009, Atti del Convegno internazionale di Studi (Certaldo, Palazzo Pretorio, 12–14 giugnio 2009) (L’Ars Nova italiana del Trecento, Bd. 8), eds. Marco Gozzi/Agostino Ziino/Francesco Zimei, Lucca, 2014

in: Das modale System im Spannungsfeld zwischen Theorie und kompositorischer Praxis (Hamburger Jahrbuch für Musikwissenschaft 29), ed. Jochen Brieger, Frankfurt am Main, 2013

Books by Andreas Janke

Edited by Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti, John Nádas ➡ h... more Edited by Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti, John Nádas ➡ https://bit.ly/378icRX
E. Abramov-van Rijk, A Musical Sonnet by Franco Sacchetti and the Soundscape of Florence – J. Nádas, New Biographical Documentation of Paolo da Firenze’s Early Career – M. Bent, The Motet Collection of San Lorenzo 2211 (SL) and the Composer Composer hubertus de Salinis – M. Lopatin, Musico-metapoetic Relationships in Trecento Song: Two Case Studies from the San Lorenzo Palimpsest (SL 2211) – A. Calvia, Some Notes on the Two-voice Ballatas by Francesco Landini in the San Lorenzo Palimpsest – A. Janke, On the Transmission of Donato da Firenze’s Madrigals – M. S. Cuthbert, Melodic Searching and the Anonymous Unica of San Lorenzo 2211 – D. Checchi - M. Epifani, Remarks on Some Realistic virelais of the Reina Codex – A. Stone, Lombard Patronage at the End of the Ars Nova: A Preliminary Panorama – G. D’Agostino, Music, Texts and Musical Images at the Court of Angevin Naples, Before and During the Schism.

(ed. with Oliver Huck) - The present volume presents eight contributions originating from the in... more (ed. with Oliver Huck) -
The present volume presents eight contributions originating from the international workshop ‘Liturgical Books and Music Manuscripts with Polyphonic Settings of the Mass in Medieval Europe’. The workshop took place in Hamburg on 3–4 November 2017, with participants from England, Italy, and Germany.
The contributions focus on polyphonic settings of the Mass from the eleventh to the fifteenth century, as well as on the different types of manuscripts in which the respective settings are transmitted. The aim is to gain new insights into polyphonic singing of the Mass and the function of the manuscripts in which these polyphonic settings appear.

Of the medieval music manuscript discoveries of the recent past, one of the most unexpected and i... more Of the medieval music manuscript discoveries of the recent past, one of the most unexpected and intriguing has been the palimpsest volume discovered at the church of San Lorenzo in Florence in the early 1980s. Manuscript 2211 of the church of San Lorenzo now bears the title “Campione de Beni del 1504” and details the acquisition and rental of properties up to and beyond that date. Interest in the San Lorenzo Palimpsest stems from the fact that all of its present 111 parchment leaves reveal traces of its original function: in the first decades of the Quattrocento the volume was compiled as a sizeable collection of ars nova and early fifteenth-century polyphony. Many decades later, the music manuscript was unbound, its leaves scraped clean of music and text, and then most of the source was assembled and bound as it began its reincarnation as an administrative ledger. The use of multispectral imaging has produced previously unimaginable results in going well beyond what had been possible, allowing for outstanding visibility in the final enhanced published images.

This two-volume publication, including an introductory study and pseudo-color images, constitutes the virtual recovery of a lost codex, offering readings of its original musical content that make possible further scholarly study.
The music collection contains more than 200 songs, among them those of known Trecento composers such as Jacopo da Bologna, Francesco Landini, Paolo da Firenze, and Antonio Zacara da Teramo. Most interestingly, it includes previously unknown music by the Florentines Giovanni and Piero Mazzuoli and the theorist Ugolino da Orvieto, allowing scholars a fresh examination of music in Florence in the decades surrounding the year 1400. Remarkable is the inclusion of transalpine songs and a collection of motets, which may have made their way to Florence from the Councils of Pisa and Constance and the francophile courts of Pavia and Padova.
This large repertory of anonymous virelais, rondeaux, and ballades, as well as songs by Guillaume de Machaut and his contemporaries, concords with collections from northern Italy, Austria, Germany, and other international centers) in a pattern of dissemination outlined by Reinhard Strohm and others. With its newly visible contents, the San Lorenzo Palimpsest informs us of the way an era of Italian music-making was drawing to a close, telescoping with interest in the art of an international French style. The impetus for the assemblage of such a collection, in the absence of a scholarly university tradition or courtly milieu, seems to have been the continued expression of Florentine pride in native Italian polyphonic composition joined with the cultivation of some of the most cosmopolitan repertory available.

Manuscript Studies: A Journal of the Schoenberg Institute for Manuscript Studies, 2024

Jahrbuch für Buch- und Bibliotheksgeschichte, Oct 2022

with Miriam Wendling

Manuscript Cultures, 2022

Exploring Written Artefacts. Objects, Methods, and Concepts, ed. by Jörg B. Quenzer (Studies in Manuscript Cultures, 25), 729-752, 2021

Open Information Science, 2021

in: Liturgical Books and Music Manuscripts with Polyphonic Settings of the Mass in Medieval Europe, ed. Oliver Huck and Andreas Janke (Musica Mensurabilis, 9), Hildesheim, 2020

Manuscript Cultures, 2018

in: Venedig – Luigi Nono und die komponierte Stadt. Zur musikalischen Präsenz und diskursiven Funktion der Serenissima, ed. Friedrich Geiger/Andreas Janke, Münster/New York, 2015

(with Friedrich Geiger)

Manuscript Cultures, 2014

in: Das modale System im Spannungsfeld zwischen Theorie und kompositorischer Praxis (Hamburger Jahrbuch für Musikwissenschaft 29), ed. Jochen Brieger, Frankfurt am Main, 2013

The San Lorenzo palimpsest (Florence, Archivio del Capitolo di San Lorenzo, Ms. 2211) contains a ... more The San Lorenzo palimpsest (Florence, Archivio del Capitolo di San Lorenzo, Ms. 2211) contains a collection of over 200 secular polyphonic compositions, compiled in Florence in the early 15th century. The unique works it contains by the three trecento composers Giovanni Mazzuoli (d. 1426), Piero Mazzuoli (d. 1430) and Ugolino da Orvieto (d. 1452) have until now been classified as unreadable. This book deciphers, analyses and contextualises for the first time these 29 pieces – mainly ballate and madrigals – providing new insights into Florentine musical life in the late 14th and early 15th centuries.

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Das San-Lorenzo-Palimpsest (Florenz, Archivio del Capitolo di San Lorenzo, Ms. 2211) enthält eine Anfang des 15. Jahrhunderts in Florenz erstellte Sammlung mit über 200 säkularen, polyphonen Kompositionen. Seit seiner Entdeckung zu Beginn der 1980er Jahre ist bekannt, dass die Handschrift auch Unica der drei Trecento-Komponisten Giovanni Mazzuoli († 1426), Piero Mazzuoli († 1430) und Ugolino da Orvieto enthält († 1452), jedoch fehlte bisher eine wissenschaftliche Auseinandersetzung, da das Material als nicht lesbar eingestuft wurde. Durch die erstmalige Erschließung, Analyse und Kontextualisierung der 29 überwiegend Ballate und Madrigale von Giovanni, Piero und Ugolino erlaubt der vorliegende Band einen neuen Blick auf das Florentiner Musikleben am Ende des 14. und zu Beginn des 15. Jahrhunderts. Zudem wird der Überlieferungsträger genauer untersucht, um Erkenntnisse über Handschriftengenese und Schreibprozesse zu gewinnen. Durch Auswertung neu aufgefundener Dokumente lassen sich insbesondere Giovanni und Piero Mazzuoli als Organisten präziser an wichtigen Institutionen verorten – etwa am Florentiner Dom Santa Maria del Fiore.

(ed. with Friedrich Geiger) - Der Komponist Luigi Nono wurde 1924 in Venedig geboren. Von kurzen ... more (ed. with Friedrich Geiger) - Der Komponist Luigi Nono wurde 1924 in Venedig geboren. Von kurzen Unterbrechungen abgesehen, lebte er dort bis zu seinem Tod im Jahr 1990. Dass die Stadt sich in seiner Musik spiegle, hat er immer wieder hervorgehoben. In die Literatur zu Nono ist diese Sicht wie selbstverständlich eingegangen, doch welche klingenden Reflexe Venedigs sich im Einzelnen namhaft machen lassen und welche Zwecke Nono damit verfolgte, ist bislang ungeklärt. Die Autorinnen und Autoren dieses Bandes gehen solchen Fragen systematisch und kritisch nach, indem sie die Venedig-Bezüge von Nonos Musik am Beispiel ausgewählter Kompositionen differenzieren. Ergänzend werden die Äußerungen des Komponisten zu seiner Heimatstadt über fast vierzig Jahre hinweg dokumentiert. Der Band enthält darüber hinaus bisher unveröffentlichte Reproduktionen von Skizzen des Komponisten, die heute im Archivio Luigi Nono (Venedig) aufbewahrt werden.

(mit Miriam Wendling) Das 1015 gegründete Kloster Michaelsberg verfügte im 12. Jahrhundert über e... more (mit Miriam Wendling)
Das 1015 gegründete Kloster Michaelsberg verfügte im 12. Jahrhundert über ein professionelles Skriptorium, in dem liturgische Bücher mit notierten Gesängen für den Gebrauch im Gottesdienst des Klosters hergestellt wurden. Nur wenige dieser Manuskripte sind heute vollständig erhalten. Bücher aus der Bibliothek und dem Skriptorium des Klosters Michaelsberg enthalten aber zahlreiche Fragmente mit Musiknotation, die bis heute weitgehend unerforscht sind und bedeutsame Erkenntnisse zur mittelalterlichen Musikausübung am Kloster erlauben.

Paper at CONF: International Medieval Congress 2022 | University of LEEDS | 4–7 July 2022

CONF: International Medieval and Renaissance Music Conference – Uppsala University 4–7 July 2022,... more CONF: International Medieval and Renaissance Music Conference – Uppsala University 4–7 July 2022, 50th Anniversiary.

ABSTRACT: Fifty years ago, the existence of Viennese Ars nova fragments from the beginning of the fifteenth century in the Melk Abbey Library (A-M MS 749) was announced to the musicological community. Today, it is known that these manuscripts are connected to fragments from Nuremberg (D-Nst
fragm. lat. 9 and 9a). A number of musicologists have intensively studied, contextualised, and edited these fragments, so that they can be considered very well researched. Nevertheless, by bringing palaeography, codicology, and state of the art material analysis together, new insights can be gained
regarding, for example, the order in which certain compositions were entered in the manuscript and the number of scribal campaigns. In my paper, I will present the results of recent measuring campaigns in Melk and Nuremberg and also explain their general usefulness for future analyses, even and especially of music fragments that have already been well researched in the past.

with Claudia Colini Workshop: Lost and Found Manuscripts: Binding ‘Waste’ and Interdisciplinary ... more with Claudia Colini
Workshop: Lost and Found Manuscripts: Binding ‘Waste’ and Interdisciplinary Methods of Research | Hamburg, 22–23 June 2022

Abstract
Manuscripts with polyphonic music of the 14th and early 15th centuries remain highly sought after, regardless of how much their materiality and legibility have changed through reuse. The study of the content of such manuscripts is greatly enriched by the use of non-invasive techniques such as multispectral imaging (MSI). However, the image data collected by MSI regularly contain not only information about the content of the manuscripts, but also provide new insights into their materiality. Therefore, it is of particular benefit to re-examine existing MSI data with novel questions. In particular, we will reconstruct the biographies of two music fragments as they encountered the bookbinder Mathias of Vienna, the librarians at the Stadtbibliothek of Nuremberg, and engaged readers or would-be thieves.

CONF | Pavia/Cremona, 24-26 May: Tesori di riuso. Nuove scorperte e ricerche intorno ai frammenti... more CONF | Pavia/Cremona, 24-26 May: Tesori di riuso. Nuove scorperte e ricerche intorno ai frammenti del codice San Fedele-Belgioioso

with M. Wendling, 57th International Congress on Medieval Studies, Kalamazoo (USA), May 9–14, 20... more with M. Wendling, 57th International Congress on Medieval Studies, Kalamazoo (USA), May 9–14, 2022; Wednesday, May 11, 11:00 a.m. EDT

Workshop: Removed and Rewritten: Palimpsests and Related Phenomena from a Cross-Cultural Perspective, Hamburg (Germany), 2021

Past research on individual music palimpsests has enabled the study and performance of previously... more Past research on individual music palimpsests has enabled the study and performance of previously unknown European music of the Middle Ages. However, the basic phenomena and circumstances of the creation of such written artefacts remain to be understood. Such an understanding is indeed necessary in order to choose and develop the appropriate techniques for re-covering lost music, but also to be aware of and discover music palimpsests in the first place. Therefore, a comprehensive approach is needed that allows for a fuller understanding of the materiality of preserved music palimpsests. The aim of my paper is to investigate and compare highly different scenarios of the creation of music palimpsests. To this end, I will present three case studies of Medieval and Renaissance parchment manuscripts from which musical notation and text were erased and then overwritten or painted over in the 13th, 15th, and 19th century, respectively. Where possible, connections between the first and subsequent layers of writing will be shown. On the basis of this research, I will address some current issues concerning the different expectations of scholars, editors and performers with regard to the techniques of restoration and the way in which the results may be published. Finally, I will point out some suggestions that I think are relevant for future research.

49th Medieval and Renaissance International Music Conference, Lisbon, 2021

The Stadtbibliothek of Nuremberg (Germany) and the library of the Benedictine Stift Melk (Austria... more The Stadtbibliothek of Nuremberg (Germany) and the library of the Benedictine Stift Melk (Austria) preserve several well-known Ars nova fragments, all of which may have come from the same liber motetorum, which is now assumed to have been made shortly after 1400 in Vienna at the collegiate school of St Stephens or at least to have been in use there (D-Nst Fragm. lat. 9 and 9a; A-M MS 749). At least two scribes copied polyphonic mass settings (by Johannes Ciconia and Antonio Zacara da Teramo, among others), and secular compositions, such as Guillaume de Machaut’s ballade De petit peu.

Building on the research of Reinhard Strohm and Michael Cuthbert, I will take a fresh look at the fragments, especially D-Nst Fragm. lat. 9 and 9a. The aim is to discuss hitherto unresolved questions about writing processes and thus about the genesis and use of the original manuscript. Among other things, this concerns questions about the chronology of copying, but also the purposeful deletion of certain parts. In my paper, I will be able to present several new findings regarding the two Nuremberg fragments, especially about the previously unidentified palimpsest.

International workshop, Musica Restituta, Digital Data Retrieval from Medieval Music Palimpsests ... more International workshop, Musica Restituta, Digital Data Retrieval from Medieval Music Palimpsests / Recupero di dati digitali da palinsesti musicali medievali, Oxford and Trento, 18th June 2021

THE PHYSICS OF PARCHMENTS - Experimental and historical approaches. A multidisciplinary workshop , 2019

An interdisciplinary and international workshop, with speakers from United Kingdom, Germany and F... more An interdisciplinary and international workshop, with speakers from United Kingdom, Germany and France. The focus was on the physics of the parchment material and the synergy between the experimental and historical approaches, at the boundary between sciences and humanities.

The sessions were organized according to the different disciplines and techniques involved (history, bio-archaeology, physical optics, analytical methods, conservation and restoration), with emphasis on synergies between these approaches.

The conference favoured networking between various projects running across Europe, where researchers of a relatively small but active community just begin to know each other and to collaborate.

ABSTRACT OF MY PAPER:
Medieval parchment manuscripts with notated music have been erased just as other manuscripts, but so far no palimpsest research has established itself within musicology that goes beyond the study of individual fragments or manuscripts. For a long time, only a few aids were used to make lost music visible again. It was only through
the use of state-of-the-art multispectral photography that previously unreadable music manuscripts could be analyzed, deciphered and finally used for editions and performances. In my paper, I will present the basic procedure of multispectral imaging and then demonstrate the advantages and limitations of this method with different examples. In addition, difficulties will be discussed that musicologists face when working with recovered music palimpsests. Among them are testimonies that were written between the end of the 9th century and the 15th century, with different notation systems, as well as different liturgical and secular genres.

The Alexander C. Pathy Lecture in the Book Arts - Toronto, Thomas Fisher Rare Book Library - Tues... more The Alexander C. Pathy Lecture in the Book Arts - Toronto, Thomas Fisher Rare Book Library - Tuesday, 22 October 2019 at 6:00 PM

CONF: “New Light on Old Manuscripts: Recent Advances in Palimpsest Studies”; 25–27 APRIL 2018, AU... more CONF: “New Light on Old Manuscripts: Recent Advances in Palimpsest Studies”; 25–27 APRIL 2018, AUSTRIAN ACADEMY OF SCIENCES, SITZUNGSSAAL, DR. IGNAZ SEIPEL-PLATZ 2, 1010 VIENNA, AUSTRIA:

“New Light on Old Manuscripts: Recent Advances in Palimpsest Studies” brings together an international assembly of scholars who have been in the forefront of palimpsest studies in recent years, either in reading and analyzing palimpsests texts, or in making them legible through advanced imaging and image processing methods. The conference will also feature work that has been accomplished in the course of the Sinai Palimpsests Project (http://sinaipalimpsests.org).

ORGANIZING TEAM:
Claudia Rapp, Jana Grusková, Grigory Kessel, Giulia Rossetto, Paraskevi Sykopetritou

Fondazione Ezio Franceschini, Firenze - Casa del Boccaccio, Certaldo Alto. (14-16 December 2017).

(with Sebastian Bosch), Supplement to Sebastian Bosch and Andreas Janke, “Manuscript Illumination... more (with Sebastian Bosch), Supplement to Sebastian Bosch and Andreas Janke, “Manuscript Illumination in 19th-century Italy. Material Analysis of Two Partial Copies from the Squarcialupi Codex” Open Information Science, vol. 5, no. 1, 2021, pp. 63-88.

(with Ivan Shevchuk). Dataset, http://doi.org/10.25592/uhhfdm.1472 - Supplement to Sebastian Bosc... more (with Ivan Shevchuk). Dataset, http://doi.org/10.25592/uhhfdm.1472 - Supplement to Sebastian Bosch, Claudia Colini, Oliver Hahn, Andreas Janke, and Ivan Shevchuk, ‘The Atri Fragment Revisited I: Multispectral Imaging and Ink Identification’, Manuscript Cultures, 11 (2018), 141–156.

(with Sebastian Bosch). Dataset, http://doi.org/10.25592/uhhfdm.1430 Supplement to Sebastian B... more (with Sebastian Bosch). Dataset, http://doi.org/10.25592/uhhfdm.1430

Supplement to
Sebastian Bosch, Claudia Colini, Oliver Hahn, Andreas Janke, and Ivan Shevchuk, ‘The Atri Fragment Revisited I: Multispectral Imaging and Ink Identification’, Manuscript Cultures, 11 (2018), 141–156.