The Graphic Signs in the Church of the Nativity in Bethlehem

2nd International Conference, 21-23 June 2022

Organisers:

Estelle Ingrand-Varenne (estelle.ingrand.varenne@univ-poitiers.fr),

Clément Dussart (clement.dussart@univ-poitiers.fr)  

On-site: Centre de Recherche Français de Jérusalem (Shimshon street 3) 

 

 

Online Link Zoom: https://us02web.zoom.us/j/89620986239?pwd=bR3nLn6khmskqFDAZK4qIduSmnuAUs.1

ID meeting: 896 2098 6239; Passcode: 987835

Programme:

Tuesday June 21st

9:00     Coffee

9:30     Welcome: Vincent Lemire (Head of the CRFJ)

10:00 Introduction: Estelle Ingrand-Varenne (CNRS CRFJ-CESCM) and Clément Dussart (CESCM, University of Poitiers)

10:30-12:30   1st session, moderator: Maria Villano (ERC GRAPH-EAST, CESCM)

  • “Towards a Periodisation of Graffiti between Antiquity and the Middle Ages” Carlo Tedeschi (Università degli Studi “G. d’Annunzio” Chieti Pescara)
  • “The Tree of Abraham in the Nativity Church and its epigraphic exegesis”  Estelle Ingrand-Varenne (CNRS CRFJ-CESCM)

Lunch at the CRFJ

14:30-18:00     2nd session, moderator: Sercan Saglam (ERC GRAPH-EAST, CESCM)

  • “Scratch, Incise, Engrave: Technical Study of the Lapidary Graffiti of the Nativity” Thierry Grégor (CESCM, University of Poitiers)
  • “The discovery and the conservation of Graffiti on the columns of the Church of the Nativity”  Marcello Piacenti (Piacenti SpA Centro Restauri) [visio]

 Coffee Break

  • “Apposer son emblème. La mise en signe des espaces sacrés au Moyen Âge. L’exemple de l’église de la Nativité de Bethléem en perspective”  Laurent Hablot (EPHE, SAPRAT) [visio]

Dinner

 Wednesday June 22nd

 9:00   Coffee

9:30-12:00    3rd session, moderator: Gil Fishhof (University of Haifa)

  • “Portraits, graffiti, and tattoos: pilgrims and the appropriation of Bethlehem’s sanctity” Michele Bacci (Freiburg University)
  • “Quotation and Glorification: Bethlehem’s Conciliar Texts in Local Context” Megan Boomer (Columbia University)

Lunch at the CRFJ

13:00   Departure to the Nativity Church, Bethlehem

14:00-17:00  Epigraphic tour of the basilica, and the cave of St. Jerome and the chapel of St. Joseph

18:00    Return to Jerusalem

Dinner

Thursday June 23rd

9:00   Coffee

9h30-12:30    4th session, moderator: Yana Tchekhanovets (Ben-Gurion University of the Neguev)

  • “The Armenian Inscriptions and Graffiti of the Church of the Nativity in Bethlehem”  Khachik A. Harutyunyan (Scientific Research Center of the Historical and Cultural Heritage, Matenadaran)
  • “The Arabic inscriptions of the Basilica of the Nativity: inventory and research perspectives”  Anna Lagaron-Khalifa (ERC Horn-East, Iremam Aix-Marseille Université) [visio
  • “Recent discoveries of Latin graffiti and signs in the Nativity Church: new contributions to the history of a holy place and to pilgrimage practices (9th-16th )”  Clément Dussart (CESCM, University of Poitiers)

Lunch at the CRFJ

13:45   Departure to the Custody

14:00-16:00    Visit of the Treasure of Bethlehem at the Custody of the Holy Land, with fr. Stéphane Milovitch (ofm, Director of the Cultural Heritage Office)

 

18:00    Public Conference of Michele Bacci at the École biblique et archéologique française: “The Nativity Church in Bethlehem: New Approaches and Discoveries”

 

Closing Dinner

 

 

Conference_ERC_GRAPHEAST_21-23.06.2022_Programme

Signes graphiques de la basilique de la Nativité de Bethléem au Moyen Âge / Graphic Signs in the Nativity Church of Bethlehem in the Middle Ages

21-23 juin 2022 / June 21-23, 2022

La grande campagne de restauration de l’église de la Nativité de Bethléem, débutée en 2013 et achevée en 2020, et la bibliographie récente dédiée à ce lieu saint[1] permettent de questionner à nouveaux frais les centaines d’inscriptions et graffitis présents sur les mosaïques, les peintures et la pierre des murs de la basilique, bâtie sur le lieu présumé de la naissance du Christ. Véritable symphonie – voire cacophonie – graphique, il a semblé important pour mieux cerner ce phénomène de rassembler et de questionner ensemble les divers signes graphiques c’est-à-dire épigraphiques, héraldiques, emblématiques etc., réalisés au cours du Moyen Âge par les pèlerins et voyageurs tout comme par les autorités du Royaume latin de Jérusalem, alors qu’ils ont jusque-là été étudiés séparément et partiellement. Cet isolement lié à la typologie (les catégories « inscriptions » vs « graffitis »), au type d’alphabet (latin, grec, arabe, arménien etc.) et aux langues, est certes le corollaire de l’histoire même du lieu : jalonnée par les tutelles différentes, avec des moments-clés à l’instar de la vaste d’entreprise de rénovation et d’embellissement menée conjointement par le roi Amaury et l’empereur byzantin Manuel Comnène ; mais il est tout autant le fait du cloisonnement des disciplines et d’une vision de l’écriture épigraphique imperméable à son environnement.

Le but de ce workshop est donc de rassembler des épigraphistes issus de différentes spécialités, ainsi que des historiens, des historiens d’art et des restaurateurs pour interroger ces signes sous divers angles. Quelles typologies de signes graphiques sont présentes et faut-il en finir avec la dualité « graffitis » et « inscriptions » ? Quelles sont leurs fonctions ? Quelles langues et écritures sont employées ? Dans quelles matières et avec quelles techniques sont-ils réalisés ? Où ces signes graphiques sont-ils placés dans la basilique ? Peut-on dégager à la fois des strates situées dans le temps et une cartographie générale ? Qui dirige et a accès à ces espaces en fonction des périodes ? Quels sont donc les auteurs/commanditaires et les lecteurs ? Peut-on distinguer une hiérarchie des écritures ? Y a-t-il des interactions entre ces différents signes graphiques ? Comment ces signes ont-ils été reçus et transmis depuis leur production ? Cette liste de questions, qui n’est pas exhaustive, montre la variété des pistes qui pourront être abordées.

Ce workshop est pensé comme un atelier de travail avec un petit groupe, privilégiant la discussion, en deux temps au CRFJ à Jérusalem et dans la basilique, à Bethléem. Des conférences ouvertes au grand public seront également proposées. Il est organisé dans le cadre du projet ERC Starting Grant GRAPH-EAST, financé par le programme de recherche et d’innovation Horizon 2020 de l’Union européenne dans le cadre de la convention de subvention n° 948390.

***

The major restoration campaign of the Nativity Church of Bethlehem (2013-2020) and the recent bibliography dedicated to this holy site[2] let us question hundreds of inscriptions and graffiti figuring on mosaics, paintings, and on the walls of the Church built in the presumed Christ birthplace. As the site exhibits a real graphic symphony, if not cacophony, it necessarily implies to collect and to question the multiple graphic signs altogether, i.e. the epigraphic, heraldic and emblematic signs (etc.) that were made in the Middle Age by pilgrims and travellers as well as authorities from the Latin Kingdom of Jerusalem. Yet, to date, they have been studied separately and partially. This partition related to the typology (“inscriptions” versus “graffiti”), to the type of alphabet (Latin, Greek, Arabic, Armenians etc.) and to the various languages is the result of the history of the site itself. Throughout its history, the Nativity Church was indeed under different authorities and went through key historical moments such as the extensive renovation and embellishment initiated jointly by the King Amaury and the Byzantine Emperor Manuel Comnenus. This dissociation stems as well from the traditional discipline boundaries and from an approach of epigraphic writing elaborated outside of his environmental context.

              The objective of this workshop is therefore to bring together epigraphists from different backgrounds, as well as historians, art historians and conservators to question those signs under different angles. Which typologies of graphic signs are uncovered and can we escape from the labels “graffiti” and “inscriptions”? What purpose do they serve? Which languages and writing are used? In which material and with which techniques are they realized? In which place are they located in the Church? Can we shed light to the strata located in time and the overall cartography? Who’s leading and has access to those places depending on which historical period? Who are the authors/the sponsors and the readers? Is there a hierarchy between the writings? Are there interactions between the different graphic signs? How were those signs received and communicated since their creation? This list of questions is not exhaustive and shows how various are the avenues that could be explored.

This workshop is designed as a small group discussion with two main phases, one in the CRFJ in Jerusalem, and the second in the Nativity Church in Bethlehem. Conferences opened to the wider public will be offered. The workshop is organized in the frame of the ERC Starting Grant project GRAPH-EAST, funded by the European Union research and innovation program Horizon 2020 in the framework of the Grant Agreement n° 948390.

Comité scientifique :

Comité d’organisation :


[1] Pour ne citer que les publications des 5 dernières années : Emérico Vicente Juhász, Pinturas y graffitos. BasÍlica de la Natividad en Belén, Introducción y edición a cargo de Michele Bacci, 2021 ; Lucy-Anne Hunt, “Melkite-Latin artistic interaction at the Church of the Nativity, Bethlehem, and in the Melisende psalter : art, liturgy and politics between Antioch and the Latin kingdom of Jerusalem in the twelfth century”, Aram Periodical, 2019, vol. 31, p. 233-316 ; Bianca and Gustav Kühnel, The Church of the Nativity in Bethlehem. The Crusader Lining of an Early Christian Basilica, Regensburg : Schnell & Steiner, 2019 ; Michele Bacci, The mystic cave : a history of the Nativity Church in Bethlehem, Brno : Masaryk University ; Roma : Viella, March 2017.

[2] To mention only the publications of the last 5 years: Emérico Vicente Juhász, Pinturas y graffitos. BasÍlica de la Natividad en Belén, Introducción y edición a cargo de Michele Bacci, 2021 ; Lucy-Anne Hunt, “Melkite-Latin artistic interaction at the Church of the Nativity, Bethlehem, and in the Melisende psalter : art, liturgy and politics between Antioch and the Latin kingdom of Jerusalem in the twelfth century”, Aram Periodical, 2019, vol. 31, p. 233-316 ; Bianca and Gustav Kühnel, The Church of the Nativity in Bethlehem. The Crusader Lining of an Early Christian Basilica, Regensburg : Schnell & Steiner, 2019 ; Michele Bacci, The mystic cave : a history of the Nativity Church in Bethlehem, Brno : Masaryk University ; Roma : Viella, March 2017.

Photography Workshop: A Report

(this and the following photos are by Maria Aimé Villano)

In the last week of January, we spent two days exploring the different aspects of digital photography and its role during the epigraphic research. The role of photography will be crucial for the Graph-East project, because we will not be accompanied by a professional photographer during our personal missions, and also because our field is located rather far from France, so we will not be able to return there often. Thus, we will need to make proper photos in order to analyze them later.

This brief course was conceptualized and organized by Clément Dussart, our fellow team member, and divided in two parts. On the first day we dedicated ourselves to photography, and on the next day we were dealing with more intricate subjects, such as photogrammetry and ultraviolet/infrared photography. Each day was also split in two parts, we began it with theory and finished with practice. As it was an open event, there were not only Graph-East team members in the audience, but also our colleagues from the CESCM, the University of Poitiers, and other universities. Among them were participants of another ERC project, HornEast, based in Aix-Marseille University. The number of attendees varied during the day, however, the peak number was fifteen, although including the lecturers.

We began with basics. As everything on the first day, they were taught to us by Lisa-Oriane Crosland and Eva Avril. During the first half of the first day, we were told about the camera construction, its working principle, learned about exposure, aperture and ISO – the three pillars of photography, and also about focal length, different types of objectives, white balance and different camera modes.

Then, it was time to test all the newly acquired – or refreshed, as all of us had different backgrounds and experience – knowledge on practice. Some of us brought their own cameras and tripods, some were provided with them by the lecturers, and some, including the humble author of these lines, had a possibility to test a new camera, purchased specially for the Graph-East needs. The practice was twofold: we started in the classroom with some separate stones, inscriptions, and seals, and then, after lunch, under the shy winter sun we moved to the Baptistery of St. John. There, inside the walls adorned by inscribed frescoes and among the carved sarcophagi, we were placed in field conditions. Despite the chilling cold, whose hand became even more firm as the evening descended, we managed rather well, even those who took cameras for the first time. At the end of the day, Estelle Ingrand-Varenne, our most beloved leader, took our guests from other cities to an excursion to the Church of St. Radegund, of which excursion, unfortunately, I cannot tell anything.

Next day, straight after having learned the most simple basics, we delved into depths of much more complicated methods. Divided in two groups, we learned first about photogrammetry (thanks to Daniel Morleghem, an independent archaeologist from Poitiers), and then (with help of Jean-Baptiste Javel, PhD student in Bordeaux) about some additional ways to take photos, such as macro- and microphotography, as well as ultraviolet and infrared photography, and new research possibilities opened by them. Or vice versa. Given our diverse backgrounds, those subjects were not something very new for some of us, however, those were not necessarily the same people who had not learned anything new on the previous day. To those, who, as myself, has not heard about the aforementioned methods (except maybe for macro) before, let it be known that photogrammetry consists of making a 3D image of an object, which was previously photographed from all possible angles, with help of a special software. In terms of epigraphy, it makes inscriptions more readable. However, there is also a disadvantage: the 3D models occupy quite a lot of space on the disk. As for the IR/UV photography, it requires a special filter, or a partly disassembled camera (infrared blocker removed), and literally allows to see the invisible, when it comes to the painted inscriptions or some very slight incisions. The latter can also be discovered and depicted using macro- and microphotography. So it is.

As on the previous day, we went on to practice after lunch in the same baptistery. As there was only one IR-conditioned camera, we were mostly occupied with photogrammetry, taking photos of different sarcophagi for a model, which then would be made according to them. However, those interested had the possibility to lend Jean-Baptiste’s camera for a few moments.

In general, it was an interesting experience, which also offered a rare possibility to gather all the team together. It was not definitely the last workshop organized by Graph-East team, as some other ideas were voiced during the group discussion in the evening of the last day, such as the initiation into Adobe Photoshop or InDesign, or a workshop on edition of the inscriptions, or even a workshop on heraldry, as many slabs do have different coats of arms on them. So, please stay tuned for further announcements and such reports.

Formation photos/relevés épigraphiques

25 et 26 janvier 2022, 9h-17h, CESCM, Poitiers

Objectifs

  1. Apprendre les techniques de base de la photographie pour être autonome en mission de terrain

  2. Découvrir les différentes techniques de relevé numérique

  3. Identifier ses besoins et avoir le réflexe de recourir à l’une ou l’autre de ces techniques

Programme

Jour 1

Intervenantes : Lisa-Oriane Crosland et Eva Avril

Activité : Prise en main d’un boitier réflex, apprentissage des réglages de base, mise en situation et expérimentation au Baptistère Saint-Jean avec la présence et le conseil de deux photographes professionnelles.

Matériel nécessaire : appareil photo et matériel personnel (lumières, trépied, optiques…)

Jour 2

Intervenants : Daniel Morleghem et Jean-Baptiste Javel

Activité : séparation de la journée en trois temps, partie théorique (explication du principe de chacune des techniques et de leur mode opératoire), mise en application pratique sur le terrain, traitement pratique des données acquises sur le terrain ou présentation d’autres données auxquelles le même traitement a été appliqué (si manque de temps pour faire les traitements).

Contacts :

Webinar “Epigraphic Transmissions”

The SEMPER seminar on writing outside the manuscript world resumes this year as a transversal webinar, bringing together all the epigraphy research projects linked to the CESCM (the CIFM/Titulus, CARMECA, IGAMA, the ERC GRAPH-EAST), in partnership with the CRFJ Jerusalem. Nine sessions will take place between October 2021 and June 2022, one per month, around the theme “Epigraphic Transmissions”.

“Transmitting a message to the widest possible audience” is one of the functions of inscription. But what does this transmission consist of? What is it about and what does it involve? To speak of “epigraphic transmissions” makes it possible to question the idea not of permanence, which erases the relationship to time, but of continuity, which integrates the upheavals of history, the variations of interpretations, the transformations of the support. The continuous use of writing forms such as the capital (understood in the sense of a large letter placed in a bilinear system), the recurrence of certain funerary formulas that cross the Middle Ages and are still used in our modern languages, or the intentional material replacement of a stone inscribed in a wall, are three of the most obvious examples of the duration conveyed by the inscription. This continuity takes place through the passing on (trans-); it is inscribed in a temporal and/or spatial chain. It implies a movement, as shown by the cartography of epigraphic formulas in Europe or the transfers between East and West. It also puts forward the intermediaries who participate in this mesh, even this spiral.

Beyond the content and form of a message, the epigraphic text is also a trajectory, an itinerary in time, that of the history of its transmission on other media than its own support. Since the Middle Ages, inscriptions have been copied into manuscripts; in the 16th-17th centuries, printers redoubled their originality in order to faithfully reproduce and display these monumental texts; drawings, stamping, the first photographs in the mid-19th century, up to photogrammetry today, are all part of this transmission work. The work of publishing – because the publisher is a “passer” – must also be questioned.

This webinar will therefore be an opportunity, through this transversal theme, to collectively question the object of “inscription” as much as the history of the discipline of epigraphy itself, the staging of the work of history as a methodology in action, to borrow an expression from Étienne Anheim (Le travail de l’histoire).

The 9 sessions from October 2021 to June 2022 will take place with the same link Zoom below :

https://us02web.zoom.us/j/89842541808?pwd=c0hyQ1o4OVR6OXFuZ0hHOU1vQmRKQT09

(ID de réunion : 898 4254 1808 ; Code secret : 013157)

Program until the end of 2021

  • Thursday, October 14, 10am-12pm: Elisabetta Scirocco (Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome)« Dinamiche di ‘trasmissione epigrafica’ nella badia benedettina di Cava de’ Tirreni (Salerno): tradizione e creazione di una memoria monumentale ». Moderator: Maria Villano.
  • Thursday, November 25, 2-4pmJean-Baptiste Javel (IRAMAT CRP2A, Université Bordeaux Montaigne) et Thierry Grégor (CESCM, Université de Poitiers), « La basilique Saint-Eutrope de Saintes : Étude technique de deux inscriptions inédites »
  • Thursday, December 16, 2-4pm: Michele Bacci (Université de Friburg, Suisse), « Les graffitis de la Nativité de Bethléem, l’édition du manuscrit de Emérico Vicente Juhász, Pinturas y grafitos. Basílica de la Natividad en Belén (Milan: Edizioni Terra Santa, 2021) ». Moderators: Clément Dussart and Estelle Ingrand-Varenne.
  • Thursday, January 13, 10am-12pm: Antonino Tranchina (Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte, Rome), « Ways of Indexicality. Graffiti and the Staging of the Sacred across the Norman South »
  • Thursday, February 17, 10am-12pm: Cécile Treffort (CESCM, Université de Poitiers), « La transmission manuscrite de la poésie épigraphique carolingienne »
  • Thursday, March 17, 10am-12pm: Vincent Debiais (EHESS, Paris), « Transmettre l’inscription par l’inscription : copier, refaire, augmenter les textes funéraires (Espagne, Empire, XIIIe-XVIe siècle) »
  • Thursday, April 7, 10am-12pm: Morgane Uberti (Universidad Complutense, Madrid), « Transmettre le temps : la date inscrite, entre temporalité et figure de l’histoire (Antiquité tardive, Moyen Âge) »
  • Thursday, May 19, 10am-12pm: Susanne Thürigen (GERMANISCHES NATIONALMUSEUM- Leibniz-Forschungsmuseum für Kulturgeschichte)
    « Objects that talk. Inscriptions on early modern table clocks »
    Moderator: Rachel Carslile (PhD candidate, Department of Art History, Florida State University)
  • Thursday, June 9, 10am-12pm: Rafał Quirini-Popławski (Jagiellonian University in Kraków), « Mission impossible between an inscription, a coat of arms and an ornament. The issue of assigning a “cultural identity” to the stone slabs in the late medieval Crimea »
    Moderator: Sercan Saglam (Post-doc member of Graph-East)

For more information: estelle.ingrand.varenne@univ-poitiers.fr 

The inscriptions in the Nativity Church of Bethlehem

Lecture Epigraphik in der Hollandstraße, 12 October 2021, 5:00 pm

Epigraphic Writing in the Nativity Church of Bethlehem. Case study of the ERC GRAPH-EAST, by Estelle Ingrand-Varenne

Seizing the opportunity to bring together people in a way not geographically feasible in normal times, the lecture will be given as a Zoom meeting. Even a larger online attendance should not affect a free-for-all discussion, the floor being opened for comments and questions by all participants.
If you are planning to attend the lecture, please register via an email to
andreas.rhoby@oeaw.ac.at.
Those who have registered will receive an email with the Zoom link on the 11th.
We are keen to make the talk available to a broad audience, so please feel free to share the invitation with anyone you think might be interested.
We look forward to welcoming a large audience!

Writing in the Nativity Church of Bethlehem

CONTACT:
Andreas Rhoby
andreas.rhoby@oeaw.ac.at

 

La série documentaire

Parce que le travail de l’historien et de l’historienne est aussi de transmettre à un large public le fruit de ses découvertes, l’équipe GRAPH-EAST a été suivie sur le terrain par deux vidéastes, Stéphane Kowalczyk et Philippe Kern, lors de la mission en Chypre en juillet 2021. La série documentaire peut être visionnée sur la chaîne YouTube du projet, n’hésitez pas à vous abonner :

Emmener le spectateur sur le terrain, c’est vulgariser l’histoire comme recherche, au moment où les hypothèses se construisent, où les expertises se confrontent, où les doutes surgissent également. C’est donc moins un résultat qui est proposé dans cette série documentaire qu’un processus : la recherche épigraphique à l’œuvre.

Au fil des épisodes et des dix jours de mission, l’équipe se construit, grâce aux compétences diverses et complémentaires de chacun, la méthodologie fait ses preuves, chaque inscription – sur pierre essentiellement – est étudiée sous toutes ses coutures, mesurée, photographiée, dessinée, transcrite… De Nicosie à Larnaca, en passant par Limassol, Kiti, Kivisili et Pyrga, les contacts avec les chercheurs locaux se nouent, les échanges avec les gardiens des clés et le clergé sur place enrichissent les perspectives. Enfin, les acteurs se livrent aussi sur leur métier, leur passion, leur rapport au travail et à la recherche, qu’on soit chercheur, doctorant, postdoc ou photographe. Bref, une petite tranche de vie du projet GRAPH-EAST qui n’en est qu’à ses débuts.

Le spectateur est lui-même invité à devenir acteur, en prenant conscience de ce patrimoine, souvent fragile comme les graffitis dans les châteaux et les églises, conservé dans de médiocres conditions par l’exposition aux intempéries, parfois en péril réel. En changeant le regard et en faisant parler les pierres inscrites, il s’agit de sensibiliser pour mieux protéger.   

Les acteurs par ordre alphabétique : Vladimir Agrigoroaei, Eva Avril, Clément Dussart, Thierry Gregor, Estelle Ingrand-Varenne, Savvas Mavromatidis, Maria Villano.  

Et la voix et l’œil derrière les images :  Philippe Kern et Stéphane Kowalczyk.

Retour en images sur le workshop Epigraphic Writing

Un grand merci à Robert Kool (IAA) pour la co-organisation de ces deux journées d’études,  l’une au CRFJ l’autre sur le terrain dans la vieille ville de Jérusalem, à Clément Dussart pour la visite de l’église du Saint-Sépulcre à travers ses graffitis de pèlerins à la fin du Moyen Âge, au père Pol Vonck pour avoir ouvert les portes des réserves lapidaires de Sainte-Anne, au père Eugenio Alliata (ofm) pour avoir sorti des réserves du Terra Sancta Museum l’inscription de Lambert, tanneur d’Acre au XIIe siècle, aux collègues et étudiants qui ont nourri les riches discussions.

Many thanks to Robert Kool (IAA) for the co-organisation of these two study days, one at the CRFJ and the other in the field in the old city of Jerusalem, to Clément Dussart for the visit of the Church of the Holy Sepulchre through its pilgrims’ graffiti at the end of the Middle Ages, to Father Pol Vonck for having opened the doors of the storage room of Sainte-Anne, to Father Eugenio Alliata (ofm) for having brought out from the storage of the Terra Sancta Museum the inscription of Lambert, tanner of Acre in the 12th century, to the colleagues and students who nourished the rich discussions.

     

Workshop 30/06-1/07: Epigraphic Writing in the Latin Kingdom of Jerusalem

Epigraphic Writing on Monuments, Objects, Seals and Coins

in the Latin Kingdom of Jerusalem

Jerusalem, June 30 – 1st of July, 2021

Co-organized by. E. Ingrand-Varenne (CNRS/CRFJ) and R. Kool (IAA)

 

Program

Wednesday 30th June (CRFJ) Israel Time

9:00 Introduction Vincent Lemire (director CRFJ) and Estelle Ingrand-Varenne (CNRS-CRFJ, GRAPH-EAST PI)

9:30 – 10h30 First Session

  • Jonathan Rubin (Bar Ilan University), “Intellectual life in the Latin kingdom of Jerusalem: An Overview”
  • Estelle Ingrand-Varenne (CNRS/CRFJ), “The First Inscriptions in Outremer French in Acre”
  • Robert Kool (Archaeological Research Department, IAA): “Lingua, لُغَو يّ and Langue on Coins and Tokens in the 12-13th c. Crusader States

10:30 – 11:00 Coffee Break

11:00 – 11:30 Second Session

  • Iris Shagrir (Open University of Israel), ““Latin Liturgy and Diverse Audience in 12th c. Jerusalem”
  • Liza Lurie (Curator Islamic Art and Archaeology, Israel Museum), “Speaking Objects: Inscribed Textiles from the Israel Museum Collection”

11:30 – 13:30 Discussion

13:30 – 14:30 Lunch

14:30 –15:30 Third Session

  • Clément Dussart (University of Poitiers, CESCM), “Reconsidering Pilgrim Graffiti”
  • Laurent Hablot (EPHE), “Affixing Signs: Forms and Functions of Heraldic Traces and Ex-voto” [Zoom]

15:30 – 16:00 Coffee Break

16:00 – 17:00 Discussion

 

Thursday 1st July

9:00 – 13:00 Field Excursion

Meeting point Jaffa Gate. Sites to visit:

  • Holy Sepulchre (graffiti)
  • Church of Saint Mary of the Latins (the Calendar inscription)
  • Markets (various inscriptions)
  • Terra Sancta Museum storage (inscription of Lambert d’Acre)
  • Church of Saint Anne (inscriptions of the façade, garden and storage)

13:00-14:00 Lunch

14:00-15:00 (CRFJ) Discussion and Conclusion

 

Webinaire 23/06: Préparer la mission de terrain

Qu’on soit épigraphiste, archéologue, ou archéographe, “l’appel du terrain” se fait entendre encore plus fortement en cette année de confinement et restrictions. Une mission de terrain se prépare bien en amont : les objectifs, les acteurs, la liste du matériel, la gestion des données mais aussi la gestion de groupe, sans compter les éléments administratifs (autorisations etc.) et logistiques ; et elle doit aussi inclure la “post-mission” permettant de ne pas perdre d’informations. Cependant, c’est un sujet sur lequel les chercheurs échangent peu, un travail qu’on apprend sur le tas, au fil des années, parfois sans vraiment le questionner, ni le croiser avec les pratiques d’autres disciplines, alors qu’il est souvent similaire. 

Cet atelier, qui aura lieu en ligne mercredi 23 juin, 14h-16h30, propose un retour d’expérience de plusieurs chercheurs, d’horizon divers, sur l’organisation de mission et l’après terrain. Le but est de partager nos méthodes et protocoles, les réussites et les difficultés, échanger nos conseils et astuces, mais aussi nous questionner sur les données produites (fiches de terrain, croquis, photos) et leur devenir (transformation, archivage, propriété etc.).

N’hésitez pas à venir avec vos réflexions et vos questions ! 

Intervenants:

  • Manon Durier (CESCM, GRAPH-EAST)
  • Bertrand Riba (archéologue, chercheur associé à l’IFPO)
  • Carolina Sarrade (archéographe CESCM)
  • et l’équipe GRAPH-EAST

Animatrice : Estelle Ingrand-Varenne (CNRS, CRFJ)

Lien de connexion:
https://us02web.zoom.us/j/84949445157?pwd=WGo5RHltSzJVYWNySVJLdDZnVER4dz09

ID de réunion : 849 4944 5157
Code secret : 456583