Steven Avery
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Does the Painter’s Manuel show up in the Spyridon library ?
Symais in 1849 and Rangavis response, the letters of credence of Anthimos, Xenophon Pappadatos and Colonel Tzami Karatassos - steampunk & Mustoxydes
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Steven Avery
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Notes to pp. 189–193 Robert Rauschenberg, Man Ray and James Rosenquist and was presented in a number of international exhibitions (USA, Italy, Mexico, Greece) curated and compiled by himself in the years 1975–1977. 2. Calas 1942, 200. 3. Simonides 1849, frontpage. 4. The section closes again with the wood print of the signature of Meletios (p. 174) and his testament (175–178) and is followed by the biography of Eulyros written by a certain Nikephoros Daidalou from Corfu (pp. 178–180). 5. Simonides 1849, 3 Fn. 1; 61 (source in Greek). 6. Simonides 1849, 19. 7. For further reading see Van Helden/Dupré/Van Gent 2010, Edgerton 2009 and Willach 2008. 8. Simonides 1849, 93 (source in Greek). 9. This is for example the case in a miniature in a manuscript from the thirteenth century (No. 11040, Burgundy Library Brussels) printed in Beebe 1938, Fig. 6. 10. Busch 1804, 196. 11. For a thorough examination of the Archimedean mirror legend, see Simms 1977, 1–24. 12. To the list of sources mentioned by Busch Diocles should be added; see Toomer 1976. For burning glasses in Greek antiquity in general Knorr 1983 and Acerbi, 2011. 13. The Archimedian invention is discussed in Dutens 1775. Cf. also Donndorf ‘Metallspiegel’, ‘Brennspiegel’, Donndorf, 1818, 76; both could be Simonides’ sources. 14. See Ars magna lucis et umbrae, Rome 1646, 888, Tab. XXXI. 15. Simonides 1849, 104–105. 16. See Simonides 1849, 20 footnote. For more information about Anthemius see Huxley 1959. 17. Niebuhr 1828, Book E, pp. 291–294. 18. Simonides may have known the ‘Fragments’ of Anthemius through the edition of Westermann’s Παραδοξογράφοι [Marvel Writers] whose work may generally have been a source of inspiration for Simonides. Cf. specifically for mirrors and their typology in Anthemius, Westermann 1839, 149–158.
19. Simonides notes in a footnote to this invention: ‘What can one say about this ball of light? Physicists should comment on this’ (p. 23, fn. 1).
20. According to recent research, the painter Panselinos became legendary, so that the question has now been raised if he was ‘man or metaphor’; on that see Milliner 2016.
21. Didron 1845, XXI, XXIII–XXVI and Kakavas 2008, 10. Brockhaus 1891, 160 fn. 3 mentions two manuals he saw in Karyes. Kakavas 2008, 267–301 lists 69 manuscripts of the ‘Painters’ Manual’, four of which he attributes to Simonides. See also Hetherington’s list on pp. 113–115. The publication contains many comments and has a long introduction. It is interesting that Didron dedicated it to the writer Victor Hugo, ‘the immortal author of the Notre Dame de Paris [L’immortel auteur de Notre-Dame de Paris]’, Didron 1845, frontpage. The manual was printed at the expense of the French government, see Unger 1870, 292.
22. See Omont 1888, 367, No. 38 and Kakavas 2008, 11. According to Omont 1888, 367, 38 and 39 and ibid. 1890, 432–433, there were two manuscripts in the Municipal Library in Chartres that came from Paul Durand to the library. Durand No. 827 (in Omont No. 38) is a copy made by Simonides at Athos around 1840 (Pap. 268 fol. P.); Durand 828 (in Omont No. 39) is a copy made by Durand (Pap. 409 fol. P). However, the former was destroyed during a bombing in 1944, see Hetherington 1974, V Fn. 7 and Kakavas 2008, 270–271. The manuscript 243
Notes to pp. 193–195
contained a note written by Durand (Hetherington 1974, v. 7) stating it was purchased from Simonides in 1847. There was a note from Simonides, that he had found it on Mount Athos on 15 March 1840 and copied it (Omont, 1888, 3, 367, no. 38). See also Papadopoulos Kerameus 1909, ε’, footnote 3 and Kakavas 2008, 11 footnote
23. For further headings of the manuscripts related to Simonides see Papadopoulos-Kerameus 1909, ιγ’-ιε’, Fn. 1.
23. Papadopoulos-Kerameus 1909, ε’-η’, ιδ’-κε’ and Kakavas 2008, 11.
24. See Lykourgos 1856, 45ff. Brockhaus 1891: 158–161 deals extensively with the question of the linguistic differences between the manuscripts. Sathas 1868, 99–100, on the other hand, is deceived by Simonides and sees in the modern Greek of the manual an important example for the vernacular of the fifteenth century, its alleged time of writing.
25. For more details on this case see Mitsou and Diamantopoulou in Müller/Diamantopoulou/ Gastgeber/Katsiakiori-Rankl 2017, 71–86 and 27–53.
26. See Kakavas 2008, 12.
27. Simonides dates the life of the inventor of the heliotype Manouil Panselinos to the sixth century and specifically in 518 ad. In the Symais a second painter called Panselinos is mentioned, who acted around 1032–1085. In his work Νικολάου επισκόπου Μεθώνης, Λόγος προς τους Λατίνους [Speech of Nikolaos, bishop of Methoni, to the Latins] (Simonides 1858) he mentions three other painters of the same name.
28. Simonides 1853, § 64, 40–41 (source in Greek).
29. For a detailed discussion of this omission and a comparison of the French and the Simonideian editions, see Rangavis 1851, 554–555.
30. ‘Aτέλειαν του εκγαλλισθέντος χειρογράφου, ή εις κακοβουλίαν του μεταφραστού’ (Simonides, Αμάλθεια Nr. 508, quoted after Rangavis 1851, 554). Rangavis points out the problems of this argument and says that such a ‘malicious concealment’ is a ‘patriotism that transcends that of Curtius, or is incredible stupidity’ (Rangavis 1851, 554).
31. Oikonomos refers to the manuscript as antique (‘χειρόγραφον αρχαίον σώζεται’ Oikonomos 1849, 4, 218, Fn. α) and recognizes in the heliotype a form of iconography which he compares to the daguerrotype. See also Papadopoulos-Kerameus 1909, στ᾽-ζ’, Rangavis 1851, 553 Fn. β and Brockhaus 1891, 160 Fn. 4. Manouil Gedeon names Panselinos as the first inventor of photography: ‘πρώτος εφευρέτης της φωτογραφίας, γράψας μάλιστα, κατά την παράδοσιν, και βιβλίον περί αυτής’, Gedeon 1876, 53–54. See also Vasilaki 1999, 45. 32. The connection of Simonides’ anachronistic technologies with the term ‘steampunk’ was first formulated by Siniosoglou 2016, 315. 33. Simonides 1853, § 64, 43 (source in Greek). In Hero of Alexandrias De Speculis, 22 occurs a similar description: Hero refers to a mirror on the ceiling of a room reflecting the view of the street through a tube that penetrates the wall of a certain building. The resident of this building was able to see, without being seen, the movement of passers-by outside. For further reading on mirrors and reflected images in Hero see Gerolemou and Bur in this volume. 34. For further reading on the camera obscura in art and science see Lefèvre (2007). For the early steps of photography in Greece see Xanthakis 1981. 35. For example, the work of the Russian art collector, amateur archaeologist and photographer Piotr Sevastianov (1811–1867) is well-known. He toured Athos at an early age, around 1851, 1852, and later more extensively from 1857–1860, and not only painted copious icons with several major Russian missions and other treasures, but also made numerous photographs; see Pyatnitsky 2011. 36. According to a theory advocated by the artist David Hockney and the physicist Charles M. Falco, art itself was revolutionized by the use of optical instruments, rather than solely due to 244
19. Simonides notes in a footnote to this invention: ‘What can one say about this ball of light? Physicists should comment on this’ (p. 23, fn. 1).
20. According to recent research, the painter Panselinos became legendary, so that the question has now been raised if he was ‘man or metaphor’; on that see Milliner 2016.
21. Didron 1845, XXI, XXIII–XXVI and Kakavas 2008, 10. Brockhaus 1891, 160 fn. 3 mentions two manuals he saw in Karyes. Kakavas 2008, 267–301 lists 69 manuscripts of the ‘Painters’ Manual’, four of which he attributes to Simonides. See also Hetherington’s list on pp. 113–115. The publication contains many comments and has a long introduction. It is interesting that Didron dedicated it to the writer Victor Hugo, ‘the immortal author of the Notre Dame de Paris [L’immortel auteur de Notre-Dame de Paris]’, Didron 1845, frontpage. The manual was printed at the expense of the French government, see Unger 1870, 292.
22. See Omont 1888, 367, No. 38 and Kakavas 2008, 11. According to Omont 1888, 367, 38 and 39 and ibid. 1890, 432–433, there were two manuscripts in the Municipal Library in Chartres that came from Paul Durand to the library. Durand No. 827 (in Omont No. 38) is a copy made by Simonides at Athos around 1840 (Pap. 268 fol. P.); Durand 828 (in Omont No. 39) is a copy made by Durand (Pap. 409 fol. P). However, the former was destroyed during a bombing in 1944, see Hetherington 1974, V Fn. 7 and Kakavas 2008, 270–271. The manuscript 243
Notes to pp. 193–195
contained a note written by Durand (Hetherington 1974, v. 7) stating it was purchased from Simonides in 1847. There was a note from Simonides, that he had found it on Mount Athos on 15 March 1840 and copied it (Omont, 1888, 3, 367, no. 38). See also Papadopoulos Kerameus 1909, ε’, footnote 3 and Kakavas 2008, 11 footnote
23. For further headings of the manuscripts related to Simonides see Papadopoulos-Kerameus 1909, ιγ’-ιε’, Fn. 1.
23. Papadopoulos-Kerameus 1909, ε’-η’, ιδ’-κε’ and Kakavas 2008, 11.
24. See Lykourgos 1856, 45ff. Brockhaus 1891: 158–161 deals extensively with the question of the linguistic differences between the manuscripts. Sathas 1868, 99–100, on the other hand, is deceived by Simonides and sees in the modern Greek of the manual an important example for the vernacular of the fifteenth century, its alleged time of writing.
25. For more details on this case see Mitsou and Diamantopoulou in Müller/Diamantopoulou/ Gastgeber/Katsiakiori-Rankl 2017, 71–86 and 27–53.
26. See Kakavas 2008, 12.
27. Simonides dates the life of the inventor of the heliotype Manouil Panselinos to the sixth century and specifically in 518 ad. In the Symais a second painter called Panselinos is mentioned, who acted around 1032–1085. In his work Νικολάου επισκόπου Μεθώνης, Λόγος προς τους Λατίνους [Speech of Nikolaos, bishop of Methoni, to the Latins] (Simonides 1858) he mentions three other painters of the same name.
28. Simonides 1853, § 64, 40–41 (source in Greek).
29. For a detailed discussion of this omission and a comparison of the French and the Simonideian editions, see Rangavis 1851, 554–555.
30. ‘Aτέλειαν του εκγαλλισθέντος χειρογράφου, ή εις κακοβουλίαν του μεταφραστού’ (Simonides, Αμάλθεια Nr. 508, quoted after Rangavis 1851, 554). Rangavis points out the problems of this argument and says that such a ‘malicious concealment’ is a ‘patriotism that transcends that of Curtius, or is incredible stupidity’ (Rangavis 1851, 554).
31. Oikonomos refers to the manuscript as antique (‘χειρόγραφον αρχαίον σώζεται’ Oikonomos 1849, 4, 218, Fn. α) and recognizes in the heliotype a form of iconography which he compares to the daguerrotype. See also Papadopoulos-Kerameus 1909, στ᾽-ζ’, Rangavis 1851, 553 Fn. β and Brockhaus 1891, 160 Fn. 4. Manouil Gedeon names Panselinos as the first inventor of photography: ‘πρώτος εφευρέτης της φωτογραφίας, γράψας μάλιστα, κατά την παράδοσιν, και βιβλίον περί αυτής’, Gedeon 1876, 53–54. See also Vasilaki 1999, 45. 32. The connection of Simonides’ anachronistic technologies with the term ‘steampunk’ was first formulated by Siniosoglou 2016, 315. 33. Simonides 1853, § 64, 43 (source in Greek). In Hero of Alexandrias De Speculis, 22 occurs a similar description: Hero refers to a mirror on the ceiling of a room reflecting the view of the street through a tube that penetrates the wall of a certain building. The resident of this building was able to see, without being seen, the movement of passers-by outside. For further reading on mirrors and reflected images in Hero see Gerolemou and Bur in this volume. 34. For further reading on the camera obscura in art and science see Lefèvre (2007). For the early steps of photography in Greece see Xanthakis 1981. 35. For example, the work of the Russian art collector, amateur archaeologist and photographer Piotr Sevastianov (1811–1867) is well-known. He toured Athos at an early age, around 1851, 1852, and later more extensively from 1857–1860, and not only painted copious icons with several major Russian missions and other treasures, but also made numerous photographs; see Pyatnitsky 2011. 36. According to a theory advocated by the artist David Hockney and the physicist Charles M. Falco, art itself was revolutionized by the use of optical instruments, rather than solely due to 244