Ватикандық Вергилий: Ежелгі қолжазба және суреттері

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 and one of only three ancient illustrated manuscripts of classical literature.

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.

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; only two worked on the Aeneid. Each individual artist's illustrations are apparent based on their 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. The canonical works of Virgil, containing 440 folios with 280 illustrations, was customary at the time containing no introductions. It is easy and handy to read. There is no evidence of a significantly older book which can be compared based on quality. 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.

The text was written by a single scribe in rustic capitals. As was common at the time, there is no separation between words. 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, as the manuscript lost around 164 folios. In addition, several folios were appear 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.