Convocatoria: Courts and their records in Scotland, from the earliest times to the present day

SRA conference 2017


The annual conference of the Scottish Records Association
Courts and their records in Scotland, from the earliest times to the present day

10th November 2017

New Register House, Edinburgh
This one day conference will explore the subject of court records in Scotland. We welcome proposals for twenty – minute papers focused on courts, their processes of recording and record production, and legal records in Scotland. Papers can cover any aspect of the topic on any period, although we are seeking broad overall chronological coverage combined with a close focus on the records themselves in individual papers: what survives, where and when does it survive from, the processes behind record keeping and how these factors affect research today.

Proposals from scholars at any stage in their career addressing the following themes are especially welcome:

  • The central civil and criminal courts – the Session, the Justiciary Court, Justice Ayres
  • Local courts – burgh courts, sheriff courts
  • Military Courts, the Admiralty and police courts
  • Ecclesiastical courts (pre and post Reformation) and other religious courts
  • Legal Registers – deeds, testaments,  sasines, and the land registry
  • Heraldic courts
  • Large-scale projects (completed, ongoing, planned) related to the digitisation or editing of court

and legal records

Please send abstracts of 200-400 words, with a brief biography and (if applicable) current institutional affiliation and status to by Sunday 20th August 2017.

The conference fee will be waived for speakers and small bursaries towards travel costs may be available for postgraduate speakers. If you are a postgraduate student and would like to be considered for support please indicate this on your application, although funds are very limited.

Información aquí:



The Bookmark

Jesús R. Velasco , «The Bookmark», en 7PartidasDigital. Edición crítica digital de las «Siete Partidas».

A rectangular piece of parchment, now stuck to the inner part of a Partidas manuscript’s binding (Biblioteca Nacional de Madrid, Vitrina 4-6see) was, in the past, an independent bookmark. It was used in the late fourteenth century, or perhaps the early fifteenth century, by an avid reader of the magnificent manuscript, which was prepared in the fourteenth century for an unknown owner but repurposed in the second half of the fifteenth century (likely after 1457) for the use of Alvaro de Zúñiga, Justicia Mayor of the kingdom. He may have paid for the book one gold maravedí and five silver ounces1. It is, indeed, an expensive book. After Zúñiga’s death in 1488, the codex became the property of the Catholic Monarchs, who preserved it in a black case made out of velour and embroidered with precious stones. The now inactive bookmark contains the following reference:

2 pã
tº. 13. Ley 2 ij
sta grda dl rey

According to the system we use in this project, the bookmark refers to Partidas 2.13.2. The reader identified the passage as falling into the category of the “sacred task of protecting the king” (la santa guarda del rey). The same reader left many marks throughout the Second Partida, interested, as he was, in monarchical politics and the meaning of a jurisdiction centralized on the person of the king2. This reference points directly to a part of the legislation where the lawgiver used extensively Aristotle’s treatises on the soul and on aesthetics. Some of the questions under consideration in those Aristotelian references reveal the use of texts from the commentators of those Aristotelian books. The commentators were those normally published under the label of “Aristoteles Latinus,” that is, Persian, Andalusi and otherwise Muslim and Jewish thinkers from the Mediterranean basin, from the tenth to the early thirteenth century, the very same commentators that were read, taught, debated, and sometimes forbidden and their theses condemned as heretic ones, in the middle of the university and intellectual debates in thirteenth- and fourteenth-century Europe.

Maybe the Partidas provides to us the possibility to gain a different sort of access to those debates. The Partidas are a secular code of legislation—note that I am not saying that they are a body or a corpus of legislation like other legal productions: unlike those, the Partidasare a code. In their book, Ruedi Imbach and Catherine König-Pralong decided to undertake an inquest into the relationship between clerical and secular philosophers in the Middle Ages (especially during the thirteenth and fourteenth centuries), and determine whether the appropriation of philosophy by secular writers and intellectuals constitutes a specific challenge. Their book, Le défi laïque, not only defends the necessity to understand this specific challenge but also demonstrates how the displacement toward a secular philosophy and secular philosophers also transforms both the contents and the importance of philosophy considered as critical thought3.

As a secular code, the Partidas constitute a double challenge. On the one hand, they indicate a certain way of appropriation of philosophical corpora, methods, and ideas with the purpose of building the system of legislation. They do it in the vernacular and by exploring a secular jurisdictional system, even in clerical and ecclesiastic matters—the Partidas, we shall remember, also include canon law at different levels of their composition. On the other hand, the Partidas define a secular legal program and a profoundly secular definition of people, that is, the legal subjects. The codification including philosophical knowledge at different levels has this body of secular and vernacular legal subjects as its proper audience, or better yet, as its proper body of clients.

The use of Aristotelian aesthetics is not the only philosophical body inscribed in the Partidas as law. There are others. We will devote a full chapter to another one, the ethics of friendship, and how this ethics and its politics become a legislative program in the Fourth Partida. The Partidas, indeed, abound in Aristotelian references, including sections of the Politics and its commentators, the arts and philosophy of Rhetoric (in which the legislator also refers to Ciceronian rhetoric) and, of course, the pseudo-Aristotelian Secretum Secretorum4. The latter plays a double role in the legislation, on the one hand, as practical philosophy and practical politics, and on the other hand, as a resource for storytelling (a resource that the codification of the Partidas also enjoys as one of its main building materials).

There are other important levels that still need to be studied. While this books will deal in particular with the questions of the ethics and politics of friendship and the politics of the soul that derive from the use of the corpus of Aristotelian aesthetics, there are other philosophical lines of inquiry that I won’t explore here: questions that have not been favored by traditional research in medieval philosophy, like the theories of contracts, the uses of oaths, the theories of matter, the philosophical consequences of property, problems of optic, and so on, that are also embedded in the Siete Partidas. Other scholars have delved into some of those issues in a more general way, with no specific interest in the Partidas, but with a clear interest in the legal discipline—authors like Alain Boureau, Irène Roser-Catach, Sylvain PironDamien Boquet & Piroska Nagy, Elsa Marmusztejn, Marta Madero, among others.

To read further:

Velasco, Jesús R. (2017.07.31), «The Bookmark», en 7PartidasDigital. Edición crítica digital de las «Siete Partidas», [04/08/17]


Beyond Reproductive Printmaking (Dresden, 18-19 septiembre 2017)

Encuentro transdisciplanario y cooperativo del Taller de Grabado, Impreso y Fotografías, del museo de la ciudad de Dresden (Alemania) y del Instituto de Arte y Musicología (Institutes für Kunst- und Musikwissenschaft) de la Universidad Tecnológica de Dresden.


Studiensaal des Kupferstich-Kabinetts und Hans-Nadler-Saal im Residenzschloss, Gemäldegalerie Alte Meister im Zwinger / Print room of the Cabinet of Prints, Drawings and Photographs, Hans-Nadler-Saal and Old Masters Picture Gallery, Dresden

Organization Team
Susanne Magister, M.A.
Sabine Peinelt-Schmidt, M.A.


For the lectures on 19th September we kindly ask for registration via email no later than 8th September 2017. We would like to invite all interested guests to the public evening lecture of Dr. Rudolf Rieger in the print room of the Cabinet of Prints, Drawings and Photographs on 18th September 2017 at 6.30pm.

M O N D A Y ,  1 8  S E P T E M B E R  2 0 1 7

18:30 Öffentlicher Abendvortrag im Studiensaal des Kupferstich-Kabinetts

• Rudolf Rieger (Bonn), Adam von Bartsch (1757–1821) als Graphiker: Die Reproduktion von Handzeichnungen alter Meister zwischen Faksimileanspruch, normativen Rezeptionsvorgaben und künstlerischer Interpretation

T U E S D A Y ,  1 9  S E P T E M B E R  2 0 1 7

9:30  Registration

10.00  Section I | Collecting Interpretative Prints: Now and Then
Moderated by Jürgen Müller (Dresden)
• Gudula Metze (Dresden), Königliches Kunst-Kompetenzzentrum. Das Dresdener Kupferstich-Kabinett als Kunstsammlung, Wissensspeicher und Forschungsstelle im 18. Jahrhundert
• Rieke van Leeuwen (Den Haag), Reproductive Prints in the Collection of the Rijksbureau voor Kunsthistorische Documentatie (RKD)

11.25  Section II | Translation and Technique
Moderated by Stephanie Buck
• Rena M. Hoisington (Baltimore), Étienne Fessard’s Prints of the Chapel of the Hôpital des Enfants Trouvés in Paris, 1751–59
• Caroline O. Fowler (New Haven), Defacing Raphael in the Eighteenth Century

12:30  Lunch

14.00  Section III | Mobile Motifs and Changes of Meaning
Moderated by Susanne Magister (Dresden)
• Ralf Bormann (Frankfurt a.M.), Das Nachleben reproduzierter dionysischer Sarkophagmotive im Kunstbetrieb der Académie Royale
• Christine Moisan-Jablonski (Warsaw), Geographical Metamorphoses: The influence of a composition attributed to Justus van Egmont and that of the “Elements” cycle, engraved by Jeremias Falck, on print series produced by German publishing houses
• Aude-Line Schamschula (Heidelberg), Der Herkules-Zyklus von Frans Floris. Druckgrafik als Medium der Rezeption

15.50  Section IV | Interpretative Prints as Sources for the History of Reception
Moderated by Sabine Peinelt-Schmidt (Dresden)
• Uta Neidhardt (Dresden), Gillis van Coninxloo – ein Meister des Spätwerks? Die Bedeutung grafischer Reproduktionen für die Rekonstruktion und Rezeption des Schaffens eines Hauptmeisters der flämischen Landschaftskunst
• Marina Daiman (New York), ‘Diverse opere grandi le quale vanno in stampa’: Rubens’s Fame, Theft, and the Business of Prints
• Alice Ottazzi (Torino / Paris), The Role of Mezzotint in Shaping International Reputations: An Aspect of the Reception of the English School in France

M O N D A Y ,  1 8  S E P T E M B E R  2 0 1 7

The following lectures of the first day of the conference are reserved for the speakers due to space limitations of the print room.

11:00  Registration

11:45  Welcome by Stephanie Buck, Jürgen Müller, Susanne Magister, and Sabine Peinelt-Schmidt

12:30  Jaqueline Klusik-Eckert (Erlangen), Stichkopien: Phänomen der Rezeption oder Hinweis auf einen Paragone?

12:50  Christien Melzer (Bremen), Im Zeichen der Lilie. Französische Druckgraphik zur Zeit Ludwigs XIV.

13:10  Evelyn Wöldicke (Berlin), Gemäldereproduktionen im Clairobscur-Holzschnitt? John Baptist Jackson und die Geschichte eines gescheiterten Versuchs

13:30  Zalina V. Tetermazova (Moskow), Colour Prints by Gabriel Scorodoomoff (1754–1792): Between Painting and Graphic Arts

13:50  Giorgio Marini (Firenze), Giuseppe Longhi’s La Calcografia: Theory and Techniques of Neoclassical Reproductive Printmaking

14:45  Pause and Change of Location
Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden, im Zwinger, Dresden

15:45  Martin Schuster (Dresden), Moderation and Introduction
Visit to the Old Masters Picture Gallery with presentation of preparatory drawings and prints from the Recueil d’Estampes d’après les plus célèbres Tableaux de la Galerie Royale de Dresde

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