§06§Die Reihe Manuscripta Biblica befasst sich mit Handschriften der jüdischen oder christlichen Bibel. Sie ist offen für alle Fächer und Methoden, die das historische Objekt in seiner Vielfalt in den Blick nehmen: Text und Paratext, die Art der Präsentation und Organisation des "heiligen Textes" sowie die Struktur des Artefakts, seine künstlerische Ausgestaltung, Produktion, Verbreitung, Benutzung und Rezeption. §15§Die Reihe Manuscripta Biblica befasst sich mit Handschriften der jüdischen oder christlichen Bibel. Sie ist offen für alle Fächer und Methoden, die das historische Objekt in seiner Vielfalt in den Blick nehmen: Text und Paratext, die Art der Präsentation und Organisation des "heiligen Textes" sowie die Struktur des Artefakts, seine künstlerische Ausgestaltung, Produktion, Verbreitung, Benutzung und Rezeption. §07§Manuscripta Biblica is dedicated to scholarship on manuscripts of the Jewish and Christian Bible. The series is open to all fields and methods that address biblical manuscripts in a broad sense. This includes research on textual and paratextual aspects, the presentation, organization, physical composition, and artistic dimensions of the artifact as well as issues related to production, dissemination, forms of use, and reception. §16§Author portraits are the most common type of figural illustration in Greek manuscripts. The vast majority of them depict the evangelists Matthew, Mark, Luke, and John. Being readily comparable to one another, such images illustrate the stylistic development of Byzantine painting. In addition, they often contain details which throw light on elements of Byzantine material culture such as writing utensils, lamps, domestic furniture, etc. This corpus offers catalogue descriptions of all evangelist portraits that survived from the Middle Byzantine period, i.e. from the mid-ninth to mid-thirteenth century. Items are arranged in roughly chronological order and are grouped according to common compositional types: readers will thus be able to trace iconographic similarities by going through a series of adjacent entries and to distinguish period styles by browsing through larger blocks of entries. The book thus provides, in effect, a selective survey of middle-Byzantine painting. A surprisi §16§ngly large number of Byzantine evangelists portraits remain unpublished: seventy-five of the miniatures reproduced in this volume have never appeared in print before.
