“I am Ashurbanipal, king of the world, king of Assyria” proclaims the subject of the British Museum’s current major exhibition, whom the stunningly-lit first object in the display shows in the middle of a lion hunt:
This weekend I went to visit an exhibition in the Bodleian Library in Oxford called ‘Designing English: Graphics on the Medieval Page‘ (on until April 22 2018, and free to visit) – a display of medieval manuscripts, but with the focus not on the content but the way that their writers and illustrators went about creating them. The layout of the text itself and any accompanying images, the use of different coloured inks in different parts of the text, the addition of marginalia, and even the physical format of the book or manuscript were all shown to be just as important to the writer – and the reader – as the actual words themselves.
Illustrations aided understanding (as in herbals, for instance, whose pictures were vital in showing which plants were being described, or in the chess manual which included diagrams of chess boards); key words or passages could be highlighted by the use of colour or through the spacing of the text to draw the reader’s attention (particularly important for texts intended to be read out loud, such as sermons); physical form could relate to function, e.g. in making a book small enough to fit in a pocket to carry around, or to ideology, as shown by the books of royal genealogies, designed to fold out into a single long sheet so as to present one unbroken line of inheritance. Continue reading “Designing English and Linear B”
Every February, Cambridge plays host to a festival called “E-luminate“, which the organisers describe as “a celebration of the infinite possibilities created by light at the intersection of art and science” – as well as talks, concerts, and workshops, the most popular feature is always the illuminations on various buildings in the centre of town. One of these is on the outer wall of my college, Gonville & Caius: called “The Colours of Caius College“, it illuminates part of the facade in bright multi-coloured lights:
Now that the Codebreakers and Groundbreakers exhibition is over, I’m able to make my catalogue chapter, ‘The Decipherment: People, Process, Challenges‘, available here for anyone who’d like to read it (click on the link for a PDF file)! It’s about the process by which the Linear B script was deciphered, the main people involved – Emmett L. Bennett, Alice Kober, Michael Ventris, and John Chadwick – and the remaining difficulties involved in reading and interpreting the documents written in this script.
Readers may also be interested in seeing some of the correspondence between Ventris and Chadwick that’s quoted in the chapter – PDFs of a selection of their letters are available on the website of the Mycenaean Epigraphy Group (the research group I’m part of in the Cambridge Faculty of Classics), and you can view them here.
I hope you enjoy the chapter, and if anyone has any further questions about Linear B and the decipherment after reading it, please ask me in the comments!
Just a quick reminder for any Cambridge-based readers that this week is the last chance to see the Fitzwilliam Museum’s Codebreakers and Groundbreakers exhibition about the decipherment of Linear B and WW2 codebreaking, which is finishing on Sunday Feb 4th! It’s been incredibly popular, and I’m told the catalogue has even completely sold out – for anyone who’s interested in reading more about the process by which Linear B was deciphered, and the people involved, I’ll be putting my catalogue chapter up here once the exhibition has finished, so check back for that next week!
For anyone who enjoyed the Codebreakers and Groundbreakers exhibition – or who’s still planning to go see it – here’s another ancient writing display at the Fitzwilliam Museum!
We have been dying to tell you all about a new display at the Fitzwilliam Museum in Cambridge, focusing on some of the writing systems we are working on in the CREWS project. It started today (Tuesday 16th January) and will run until Sunday 10th June, which gives you plenty of time to come and see it! Here is the Fitzwilliam’s web page on the display: Writing in Cyprus and the Eastern Mediterranean.
The objects in the display are written in a number of different ancient writing systems, with Egyptian Hieroglyphic and Demotic, Babylonian and Ugaritic cuneiform, Cretan Hieroglyphic, Linear A, Cypro-Minoan, the Cypriot Syllabary, Phoenician and the Greek alphabet.
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A follow-up to yesterday’s post on the Fitzwilliam Museum’s new exhibition to add some information on the related exhibition also running at the Museum of Classical Archaeology (in the Faculty of Classics). This is showcasing two aspects of the Faculty related to the Fitz’s exhibition: our collections of archival material relating to excavations by the archaeologist Alan Wace at the palace of Mycenae (which uncovered a set of Linear B tablets), and the range of current linguistic-related research taking place in the Faculty. This includes work on Linear B in the Mycenaean Epigraphy Group (which I’m a part of); the CREWS project on relationships between other ancient writing systems; the Greek in Italy project, whose name is pretty self-explanatory; and the team working on a new ancient Greek lexicon (dictionary) – a project that was started by John Chadwick, Michael Ventris’ collaborator in publishing the decipherment. Like the Fitz, it’s free to enter, plus you get to see the wonderful collection of casts of classical statues as well!