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3.20 Annotated documentation of all inscriptions

erstellt von Kulawik Veröffentlicht 05.06.2019 20:47, zuletzt verändert: 05.06.2019 20:47

Con li sopradetti si congiugnerà uno altro libbro di tutte le iscrizzioni, che siano in Roma, o intorno a Roma, cosi di leggi, come d’ornamenti, e di sepolchri, e d’altre memorie, ritraendole appunto come stanno ne l’antico, non solo le pubbliche, ma ancor le private. Distinguendole per ordine di tempi, e di materie, e aggiugnendovi appresso le figure che vi si trovasseno con la dichiarazione ancora di alcuni dubbii, che vi nascesseno, o per conto d’historia, o per conto d’esser posto in quella iscrizzione lettera per parte [Tolomei 1547, 83v–84r]

With those [books] mentioned above, another book will be united of all the inscriptions in or around Rome, those regarding the laws, those serving as decorations, from tombs and other memorial monuments, showing them exactly as the have been in antiquity, not only the public but also the private ones. Distinguishing them by the order of time and subject, and adding a depiction of how they are found today [i. e. with damages] with the explanation of possible doubts that arise, be it because of the history or because there are inserted in this inscription certain special letters.

In his Roman years (1545–1555), Jean Matal coordinated the collection of thousands of inscriptions now in — at least — six codices in the Vatican Library. Humanists and artists such as Guillaume Philandrier, Stephanus Pighius, Pirro Ligorio, Onofrio Panvinio, Fulvio Orsini, Martin Smet(ius), Antoine Morillon, Louis Budé (son of the humanist Guillaume), Aldo Manuzio the Younger, and even Andrea Palladio are mentioned among his collaborators.11

Matal’s work is characterized by a very clear distinction between the original text of any inscription and his own additions and painstaking corrections. Almost the exact same method was used by the draftsmen who documented the buildings and architectural elements, the tombstones, reliefs, sculptures, and — to some extent — the statues. This method seems to have been derived from the methodological approach already established at that time in Latin philology to record every available version of a textual source «as is» before adding interpretations or emendations, always clearly distinguishing the original from any addition.