On the Identifying Significance of the Graphic Elements in the Papal Solemn Privileges at the Second Half of the 12th Century

Chancery marks of papal scriptores were introduced only in the pontificate of Innocent III (1198—1216). But according to the letter dated 1167 addressed by Alexander III to Archbishop of Reims (JL 11356), examination of the previously issued papal documents was made in the papal chancery itself and included a testimony of the scribe who had written the examined document. The paper shows that graphic elements of papal solemn privileges served as marks of scriptores before the chancery marks were introduced. Graphic elements, such as decoration (initial in the name of Pope and capital letters in the beginnings of paragraphs), graphic depicted formulas (monogrammatic Bene valete, abbreviated Im perpetuum, triple Amen) and special graphic symbols (Rota and abbreviation of Subscripsi in the formula of papal subscription), explicitly reflect each scribe's individual writing manner. Graphic elements in the solemn privileges were studied by J. Dahlhaus (Rota) and, in the context of Peter Rück’s paradigm “Urkunde als Kunstwerk”, by the successors of the latter — M. Kordes (layout of papal documents), B. Kruska (initial), G. Bromm (capital letters) and O. Krafft (monogram Bene Valete). J. Dalhaus' method was aimed to identify individual writing manner of each writer (Popes themselves, chancery officers, anonymous scribes) aiming to elicit authenticity criteria for the studied documents (to distinguish between originals, pseudo-originals, forgeries and early copies). He explicitly demonstrated the attributing role of the Rota in 11th century papal chancery. The method of researchers who studied elementa diplomatica on the base of Marburg Lichtbildarchiv (LBA) photo collection involved discerning the evolution of each isolated element and classifying their representation types. Only O. Krafft supposed that graphic symbols in papal chancery had identification significance. However, he did not analyse individual writing manners and could not attribute distinguished types of monograms to concrete scribes. A long-term study to identify the individual style of the scribes of Alexander III based on the analysis of ductus, rhythm and general impression of the text field, as well as specific features of drawn elements, the results of which are presented in this paper, shows that the analysis of individual style should take into account the fullness of its manifestation, not limited to any one element, even the most significant. The article presents a table matching the types of Bene valete monograms identified by O. Krafft with the scribes of Alexander III identified by the author

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