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eManuSkript: New project to create digital teaching tools in palaeography funded at the University of Göttingen

Group of people sitting around a round table in the middle of a room filled with bookcases.
Göttingen students working with manuscripts at the Vercelli Spring School.

A project by Dr. Anna Dorofeeva at the Institute for Digital Humanities in Göttingen has recently been awarded €400,000 in the Freiraum 2023 competition by the Stiftung Innovation in der Hochschullehre. Over the next two years, a team of historians and programmers, working in close collaboration with BA and MA students, will develop a range of teaching and learning tools for manuscript studies, including palaeography.

There exist very few digital tools suitable for teaching the full range of skills necessary for working with medieval codices. Access to culturally important manuscript sources is restricted to those with specialized subject knowledge, which creates significant challenges for students. In addition, the immense potential of the millions of manuscript images available in interoperable IIIF format has yet to be fully exploited in teaching. This project aims to develop a series of digital tools that will make use of these images and of the expertise available in Göttingen. The tools will include apps for measuring, selecting and modifying scripts; evaluating page layout; and working with manuscript bindings. Other apps and extensive tutorials are planned. The project will also undertake further development of pre-existing tools, including improvements to applications for multispectral imaging, for digital editing and annotation, and for forms of image storytelling. Guided student participation will be key to the development of these tools, which means that they will be rooted in practical requirements, conceived by the users themselves, and suitable for both classroom and research use.

The eManuSkript project runs for two years from 1 April 2024. A website with more information is being developed. In the meantime, please get in touch with the team members if you have any questions or if you wish to collaborate.

Fragment Autocomplete: Announcing a New Project for Reconstructing Lost Pages from Manuscript Fragments

Research into manuscript fragments has expanded enormously over the past twenty years, and recent studies of fragments — whether those tightly bound in books or excised leaves collected by scholars and connoisseurs over the centuries — have opened up rich new perspectives onto ancient and medieval texts, manuscript production, and the history of writing. For modern eyes, whose instincts are trained for cultural preservation, medieval codices were almost ruthlessly recycled in the premodern period. Pages were cut up and reused not only in book bindings but also as support linings in many other objects, such as musical instruments. It is striking how indiscriminate medieval scribes and craftspeople were in their re-use: they used any kind of codex — be it a school text, a bible, a legal codex, or a liturgical book — without appearing to attend to the content it carried.

The digital turn in manuscript studies has brought new possibilities for the study of fragments. Fragments belonging to a single codex have been reunited in a virtual format, their disparate remains gathered and displayed in a single location. Fragments uncovered in unexpected places — the inside of a violin case, the back of keyboard keys — can be studied with an endoscope without dismantling the historic object preserving them. The digital turn now brings a new possibility: scientifically reconstructing the lost page by using the visual evidence of extant fragments.

Over the next two years, a project led by Dr. Anna Dorofeeva at the Institute for Digital Humanities in Göttingen will develop an app for reconstructing lost manuscript pages from their fragmentary remains. With generous funding from the State of Lower Saxony, the project “Fragment Autocomplete” will move into the conjectural space of the fragment’s missing page. Using artificial intelligence, the team, consisting of Mo Basuony and Dr. Jeremy Thompson, will design and train a model to analyze a manuscript fragment and to make substantive hypothetical inferences about the lost page from which it comes. This project builds on the success of the Weltwissen initiative (2021–2027) financed by the Volkswagen Foundation for advancing the disciplines of digital paleography and imaging science at the University of Göttingen.

Manuscript scholars have of course long tried to visualize missing pages. They have reconstructed, sometimes physically, often mentally, the models on which surviving codices depend. In the cases of illegible and damaged texts, even where only a few letters are decipherable, they have exposed the manuscript to different wavelengths of light and profited from every trace of informative data: every ink trace; every smudge; and, now in our digital age, every pixel. “Fragment Autocomplete” continues in this tradition, endeavouring to produce a tool that will help manuscript researchers digitally visualize the fruit of these efforts.

Training a model will entail the study of a vast corpus of fragments and manuscripts with an eye to critical data about mise-en-page. This work will be supported by Fenius, an app developed in the Institute for Digital Humanities that allows researchers to trace page layouts on top of a digital image and record information about the disposition of lines, text, images, and columns. The challenges are considerable. The team will have to consider diverse script styles, initials, illustrations, diagrams, and musical staves. The team will work by inpainting — feeding an AI model an image and training it to expand that image into a complete one. Besides local manuscript holdings at the State and University Library in Göttingen, the project will draw heavily from the significant corpus of fragments curated by Dr. William Duba at Fragmentarium, with which “Fragment Autocomplete” will closely collaborate. To optimize model training, the team will also create their own fragments in a digital environment by cropping images of complete pages and using them to train a model to accurately reconstruct the missing part. At the end, the AI-model will be made over to Fragmentarium for full implementation on its own platform. If successful, the tool will offer manuscript scholars something they have long had to do without: a reliable method for reasoning systematically about what is no longer there. With it, the lost page need not stay lost.

If you have questions or wish to collaborate, please contact the team.

Binding It All Together – A Review of the 2025 Summer School in Digital Palaeography

Written by Phillip Landgrebe, PhD candidate at the University of Kassel.

From 10 to 22 August, the Summer School in Digital Palaeography took place at the University of Göttingen, bringing together postgraduate students from across the globe. The programme combined introductions to Latin book scripts, codicology, and manuscript description with the teaching of digital methods, tools, and approaches relevant to the study of medieval manuscripts. Some sessions were held in the Historical Building of the SUB Göttingen, where participants could work directly with manuscripts and gain insights into the application of multispectral imaging and digital microscopy.

 

Learning about multispectral imaging (Photo: Anastasia Zhiling Dong)

 

 

 

 

 

 

 

 

 

The Summer School thus fills an important gap. Traditional courses in palaeography or codicology typically devote little attention to digital components, while digital humanities workshops often do not adequately cover the essential knowledge of the auxiliary sciences of history. The concept developed by Dr. Anna Dorofeeva and her team addresses this challenge effectively, as evidenced by the large number of applications for the sixteen available places.

The participants of the Summer School with Dr. Anna Dorofeeva and Anastasia Zhiling Dong (Photo: Yiyang Huang)

 

The sessions were characterised by the instructors’ high level of engagement, who encouraged participants to experiment and interact thoroughly with the material. Complex topics, such as working with TEI-XML or understanding an IIIF manifest, were presented in a clearly structured way with numerous practical recommendations. The programme repeatedly offered revealing insights, for example, into how the measurement of pixel scales in manuscript images can aid in the identification of forgeries. Additionally, the hands-on creation of different types of bookbindings proved both instructive and enjoyable.

The summer course was particularly productive when theoretical input was combined with independent work on the materials. For instance, after an introduction to fragmentology, participants catalogued Göttingen fragment holdings using Fragmentarium. A later excursion to the Herzog August Library in Wolfenbüttel built upon this work, enabling participants to analyse previously unstudied fragments in manuscript bindings and document them in Fragmentarium again.

Examination of manuscript fragments in the Herzog August Library reading room (Photo: Marie Ellen Smith)

 

I would like to express my gratitude to the entire Göttingen team for the excellent organisation and the conducive working environment during the Summer School, which, both within and beyond the sessions, was marked by great helpfulness and warmth, providing all participants with an extraordinarily enriching experience.

Short Report on the Summer School in Digital Palaeography

Written by Käthe Sophie Hanschmann, PhD candidate at Friedrich-Schiller-Universität Jena

There are many good things to say about this summer school, especially regarding its thematic variety. We began with a general introduction to scripts, focusing on how to read and recognize them, along with an introduction to codicology. More importantly, the traditional lectures were complemented by practical exercises.

Photo credit to Anastasia Zhiling Dong

In the library session, we had the chance to sew quires, work with manuscripts, and analyze fragments, applying the knowledge we had gained earlier. We also enjoyed guided tours of the Göttingen State and University Library (SUB), its conservation department, and the Bibliotheca Augusta in Wolfenbüttel.

Personally, the highlight of the program was the overview of digital tools in palaeography. Many existing tools were completely new to us before joining the program. After several practical sessions where we could test the tools under expert guidance, it was inspiring to discover so many programs, methods, and ongoing projects.

The program as a whole was both enjoyable and intense. Fortunately, the welcoming atmosphere made it easy not to feel overwhelmed by the long days. Our lecturers skillfully managed the challenge of addressing participants’ different levels of knowledge and created a motivating learning environment. They carefully selected the manuscripts in the university archive that connected to our own research interests, allowing us not only to gain an overview of the wide field of digital palaeography but also to reflect on our individual projects.

I can therefore only say thank you and recommend this summer school to everyone.

Kaethe is currently pursuing her PhD at Friedrich Schiller University Jena, within the Research Training Group 2792 “Autonomy of Heteronomous Texts in Antiquity and the Middle Ages.”

San Michele Maggiore in Pavia

We did not confine ourselves to Vercelli during the spring school. On Tuesday, our steps carried us southward to Pavia, where the solemn stones of the Basilica of San Michele Maggiore rose before us. Unlike monuments well-documented online, this church keeps its treasures quietly within. Much of what follows was not drawn from books or articles, but from the living voice of Marco, our guide, who unveiled stories and details otherwise hidden to passing eyes.

 

Lombard Romanesque ( 568 – 774 AD )
The earliest phase of Romanesque architecture, often termed First Romanesque or Lombard Romanesque, emerged in northern Italy, parts of France, and the Iberian Peninsula during the 10th and 11th centuries. Characterized by its thick masonry walls, lack of elaborate sculptural decoration, and the rhythmic use of Lombard bands (decorative blind arches), this style contrasts with the more refined Romanesque forms that developed later. First Romanesque buildings typically employed roughly cut stonework, small, narrow windows, and unvaulted wooden roofs supported by simple truss, tie-beam, or king-post systems.

Although stone or brick vaults were experimented with during this period, their forms remained relatively rudimentary. These early structural solutions laid the groundwork for later innovations, eventually leading to the development of the pointed ribbed vaults that became defining features of Gothic architecture.

Brief history of San Michele Maggiore Church
662–671: The church was built at the desire of King Grimoald, dedicated to St. Michael, on the site of the Lombard Palace chapel.

1004: Destroyed by fire; only the lower part of the bell tower remains.

Early 11th c.–1130: Reconstruction.

1155: Frederick Barbarossa was crowned with the Iron Crown of the King of Italy in the Basilica of San Michele Maggiore in Pavia. As Holy Roman Emperor, he received this symbolic coronation at the church.

1489: Redesign of the vault by master architect Agostino de Candia, changing two grossly squared groin-vaulted spans into four rectangular spans; the structure was created by his father, Iacopo da Candia, a renowned master mason from Pavia.

1968: Precious silver artifacts of Ostrogothic manufacture were found beneath a tomb dated between the 11th and 12th centuries; these are now preserved in the Pavia Civic Museums.

 

 

 

Important spots in the church
The basilica is not just a relic of the past. It is a living monument that preserves layers of history.

Royal coronations: Several monarchs were crowned here, most famously Frederick Barbarossa in 1155, giving the church enduring political and symbolic importance.

Art beneath your feet: The altar floor features marble inlays representing the months of the year, a striking medieval attempt to bind the cycles of time to the sacred liturgy.

Romanesque atmosphere: Visitors can still sense the architectural austerity of Lombard Romanesque in its heavy walls, blind arches, and relatively unadorned interior, which together convey both strength and solemnity.

 

 

 

San Michele Maggiore embodies the essence of Lombard Romanesque architecture: robust, rhythmic, and foundational for the developments that would follow. From its role as the setting of royal coronations to its architectural experiments that paved the way for Gothic grandeur, the basilica stands as both a cultural treasure and a gateway into the medieval imagination.

 

Reference

Björn Weiler, Paths to Kingship in Medieval Latin Europe, c. 950–1200 (Cambridge University Press, 2021), https://doi.org/10.1017/9781009008853; Wikipedia, ‘San Michele Maggiore’, 26 March 2025, https://de.wikipedia.org/w/index.php?title=San_Michele_Maggiore&oldid=254568277; ‘(PDF) Aesthetics of Romanesque Architecture’, ResearchGate, ahead of print, 5 August 2025, https://doi.org/10.5406/jaesteduc.55.1.0090; ‘Romanesque Architecture: The First Style of the European Age: Journal of the British Archaeological Association: Vol 170 , No 1 – Get Access’, accessed 21 August 2025, https://www.tandfonline.com/doi/full/10.1080/00681288.2017.1366724.

Seshat: A Digital Measurement Tool for Analysing Medieval Manuscripts

What is Seshat?

According to an apocryphal story, Lord Kelvin or as now believed, Albert A. Michelson, declared in 1900:

“There is nothing new to be discovered in physics now. All that remains is more and more precise measurement.”

Is the fate of palaeography similar? In 1979 the distinguished palaeographer Bernhard Bischoff inadvertently touched on this question when he wrote in the introduction of his handbook that palaeography was being transformed in his time “from an art of seeing and sympathetic understanding” to “an art of measurement” (Paläographie des römischen Altertums und des abendländischen Mittelalters [Berlin, 1979], p. 17). The statement triggered heated reactions and defences of palaeography as an art of cultivated seeing. Our new digital tool Seshat is not intended to promote the idea that palaeography should be a purely quantitative discipline. But it does enable users to measure key features of scripts from high-quality images, which is both useful and desirable in the digital age.

Named after the Ancient Egyptian goddess of scribes, Seshat is a measurement tool with annotation features that make it possible to conduct a thorough palaeographical analysis of a digital object. It allows users to highlight textual regions, underline specific words or lines, insert comments, trace letterforms using adjustable pen angles (0°, 25°, 30°, 50°, and 80°), and excerpt data in different formats to be used as a dataset later. The tracing functionality supports the analysis of script ductus and scribal hand variation.

Taking inspiration from the first version of a software tool for the critical examination of historical handwriting called Graphoskop developed by Maria Gurrado and Giancarlo Lestingi (https://www.irht.cnrs.fr/fr/ressources/sites-web-outils-corpus/graphoskop), we have included a suite of measurement tools that calculate horizontal and vertical distances for particular script and page features: ascender and descender heights, interlinear spacing, margins, overall line heights, and inter-column spaces. A stroke angle measurement feature allows for precise documentation of letterform direction and inclination. Statistical tools automatically calculate averages, standard deviations, and mode values across measurements for both single pages and entire manuscripts.

Seshat is fully IIIF-compatible, enabling users to load manuscript images from major repositories such as the British Library, the Vatican Library, or other IIIF-compliant archives. The option to upload JPEG formatted images is also available. Image cropping functionality is built in, letting users isolate manuscript regions and export these selections in PNG or SVG formats, with or without annotations.

What were our goals when starting to develop this app?

When we started, our main goals were:·To provide a digital tool for precise annotation and measurement of palaeographic features (e.g. ductus, margins, letterforms).

To simulate traditional palaeographic tracing methods (such as ductus analysis) in a digital environment by including adjustable pen angle tracing.

To allow users to collect measurable data (distances, angles) and automatically generate statistical outputs to support comparative manuscript studies.

To enable scholars to manipulate and export parts of manuscript images for publication or focused analysis.

To ensure integration with IIIF resources for direct access to high-quality manuscript images without requiring local uploads.

Currently, Seshat includes all the functionalities listed above, and is already being applied successfully in internal research for ductus evaluation, scribal variation analysis, and manuscript layout studies.

Seshat in the Future

Seshat is not yet finished. Based on development and user feedback, we plan the following additional features:

Tracing

Allow users to form strokes with a simulated quill, where the quill size is determined by selecting two points on the canvas in pixels. This size will be adjustable.

Support saving both individual and clustered strokes together with the underlying cropped manuscript image.

Commenting

Allow customization of comment text, including font family, font size, and colour, displayed on a transparent layer (removing the current speech bubble design).

Enable adjustment of text appearance (font, size, colour) for clearer comment placement without obscuring manuscript details.

Measurement

Integrate tracing and measurement tools to allow for linked analysis (e.g. measuring traced strokes).

Provide pixel-based measurements that can be converted to standard units.

Enable curve measurement and potentially measure nib (quill) width directly from the stroke trace data.

Alphabet selection

Develop an alphabet selection tool to extract individual letter shapes defined by the user.

Moving forwards, we will be improving Seshat based on user feedback and will be doing our best to deliver a very user-friendly interface by spring 2026!

— Project eManuSkript Team

 

Proteus: A Tool to Simplify Post Processing of Multispectral Images

In manuscript studies, scholars often encounter texts that are barely legible from centuries of damage, reuse as in the case of palimpsests, faded ink, or chemical reactions. Multispectral Imaging (MSI) has emerged as a way to recover such hidden texts, capturing images of manuscripts under different wavelengths of light to reveal what the naked eye can no longer perceive.

While MSI is a successful and useful technique for text recovery, the tools required to process MSI images are often intimidating. Many existing applications assume a high degree of technical knowledge, from a chemical literacy to skills in navigating dense software menus. This steep learning curve can be a barrier for students and researchers who are new to the field.

A Tool for Everyone

Our goal was to develop a lightweight app with a simple, intuitive interface that enables users—especially those without a technical background—to explore MSI data without coding.  We envisioned Proteus not just as a tool, but also as a guide: something that helps users navigate MSI post-processing with ease, without becoming imaging experts, by giving simple instructions on what images or features should be used for certain scans.

Instead of offering dozens of rarely-used features, Proteus focuses on a few impactful tools, delivered through a simple interface. We designed the interface so that each function is explained via pop-up tips, recommends effective image combinations for different tasks, performs the heavy computations silently in the background, and is supported by our MSI tutorials for a better understanding of the whole process. Our aim was to allow scholars to focus on interpreting texts, not on configuring software.

Simple and Sustainable Design

Proteus is built in Python, using libraries like OpenCV, NumPy, Pillow, and tkinter. This combination allows us to offer real-time image processing inside a platform-compatible graphical user interface. The GUI, powered by tkinter, makes image enhancement accessible through point-and-click interactions— which comes in handy for users with humanities backgrounds.

Users can load certain image stacks taken using multispectral imaging systems into the app, choose which feature to use, and select bands for further processing.

Among Proteus’s core features are:

 – Pseudo-color images, which enhance contrast by combining spectral bands as RGB channels.

– Principal Component Analysis (PCA), which mathematically isolates features that reveal faded or overwritten text.

– Power, which intensifies each pixel in the image to get a better result, especially on faded pages.

These enhancements are powered by matrix operations (via NumPy) and OpenCV functions for tasks like histogram equalization, resizing, and denoising. Proteus also follows standardized naming conventions for exported images, and delivers a text file with the metadata, including a record of used features. This makes it easy to manage results across projects.

The app’s modular code design ensures future extensibility—whether for supporting more spectral formats, integrating machine learning, or adding new filtering methods.

The Current Version of Proteus

The first working versions of Proteus have already been actively used the app in internal projects and tasks. Following evaluations with Dr. Anna Dorofeeva and Dr. Alexander Zawacki, and with the assistance of our MSI team, we’ve gathered valuable feedback—pinpointing both bugs and areas for improvement.

This feedback is now shaping Proteus v3.0, which will feature improved performance, bug fixes, and new features inspired by user experience. We’re also excited about early experiments using Proteus on non-MSI images, where enhancements like PCA and contrast filtering have revealed details even in ordinary scans.

What Next?

Proteus is built in accordance with the principle that digital manuscript tools should be clear, simple, and powerful. We want to minimise the time spent on post processing and allow researchers to make the best use of their time.

We intend for Proteus to become a standard teaching and research tool in digital humanities programs, especially in MSI training units. By simplifying complex workflows, it will lower the barrier for students and scholars – even those with limited technical skills – to engage with multispectral imaging.

As the field of manuscript studies embraces new technologies, we believe tools like Proteus can lead the way—quietly doing the heavy work, while putting discovery back in the hands of the user.

References

Conjeti, Sailesh, Stefanie Demirci, and Vincent Christlein. Image retrieval in big image data. Elsevier, 2023.

DigiTRiP-Redaktion (17. Februar 2025). Proteus – Handschriftengeheimnisse aufdecken. DigiTRiP. Abgerufen am 26. Mai 2025 von https://doi.org/10.58079/13bto

Knox, Keith. “Hoku Software .” Rochester Institute of Technology, 11 Sept. 2017.

Leslie’s Blog. “Gradual Gaussian Blur Using Opencv.” Leslie’s Blog, 5 Aug. 2020, leslietj.github.io/2020/08/05/Gradual-Gaussian-Blur-Using-OpenCV/.

Roepke, Brian. “The Magic of Principal Component Analysis through Image Compression.” Lambda with Text - Wide, Data Knows All, LLC, 22 Mar. 2024, dataknowsall.com/blog/imagepca.html.

Team, PlantCV Development. “Pseudocolor.” PlantCV, plantcv.readthedocs.io/en/latest/visualize_pseudocolor/


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

One Year of eManuSkript: A Digital Journey into Manuscript Studies

One Year Anniversary of Project eManuSkript: Part One

In April 2024, a group of scholars and students, funded by the Stiftung Innovation in der Hochschullehre, came together at the University of Göttingen’s Institute for Digital Humanities with an ambitious goal: to reimagine how medieval manuscripts can be taught, studied, and experienced in the digital age. Led by Dr. Anna Dorofeeva, Project eManuSkript has grown since then into a vibrant, interdisciplinary project that continues to evolve—shaped by its users, enriched by its team, and rooted in a shared commitment to accessibility and collaboration.

The Vision Behind eManuSkript

The idea was simple but important: manuscript studies, often remain difficult to access, especially for beginners or those outside of specialized institutions. Scholars might face barriers due to geographic distance, limited physical access to manuscripts, or a lack of training in palaeography or codicology.

Our goal was to build tools that would meet learners and researchers where they are—whether in the classroom, at an archive, or online. We wanted to create a digital platform that was not only technically sound but also inviting, accessible, flexible, and pedagogically grounded. The user experience and the needs of students in manuscript studies have driven the development of the project.

• • •

What We’ve Built

Over the past year, the eManuSkript team has been developing a suite of interconnected tools designed to address a range of issues associated with teaching and learning medieval manuscripts. Each one tackles a different challenge, and together they form a single interface.

Mergen is our AI-based layout segmentation app. It detects key manuscript elements—both text and paratext—with exceptional speed and accuracy, outperforming other existing segmentation tools and datasets. By using Mergen, the user can build a research corpus of specific manuscript elements. Using a three-layer segmentation method, our team annotated a significant corpus of raw manuscript pages to make sure Mergen reaches its potential in the shortest time. We still continue to update Mergen’s database regularly for even better results. ㅤㅤㅤㅤㅤㅤㅤ

Ceres &Libera are two connected applications for exploring medieval bookbinding. Ceres, allows users to generate customised templates to visualise medieval manuscript bookbindings. For this app, our team’s plan to document the spine and sewing structures of a medieval book have been supported by expert input from conservators at the Göttingen State and University Library. The second app, Libera, is an interactive application where users can build their own codex from bookblock to cover. With Libera, users will be able to follow simplified tutorials as they build their codex and can build visualizations with specialized terminology and professionally illustrated components.

Supporting these tools is a rich range of interactive tutorials—including images, videos and interactive games—as well as a historical timeline and canonical script alphabets with ductus practice options. Accessibility is built into every layer: visual alternatives for those with impairments, multimodal learning options, and a user-friendly design that reduces the barriers to working with manuscripts.

These applications reflect our experimental approach to manuscript studies. Despite the growing number of digitised collections, access is still limited by the high level of specialist knowledge required. Through regular team meetings, in-class experimentation, and constant dialogue between developers, scholars, and students, we’ve shaped tools that genuinely respond to user needs—pushing boundaries while remaining grounded in traditional scholarship.

Together, these five tools create a full digital environment for investigating the medieval manuscript book—from physical structure and visual layout to textual content and palaeographic detail. By April 2026, all applications will be available through our website, and our datasets and backend code will be archived openly via GitHub and Zenodo. This suite of tools and tutorials will be complemented by an extensive glossary and Zotero library. We hope this will empower others to build upon our work and bring manuscript studies fully into the digital age.

• • •

People and Collaboration at the Heart

What truly powers Project eManuSkript is its team. Beginning as a group of ten, with backgrounds in history, digital humanities, computer science, German studies, English literature, and more, our team has changed over time, but what has remained consistent has been the interest the project has generated — from students to guest researchers, all enriching our ideas with fruitful support and feedback. Our collaboration is intentionally non-hierarchical and inclusive. We believe that the best solutions emerge from diverse perspectives and shared responsibility.

Team members contribute in many ways: designing user interfaces, labelling datasets, testing OCR models, writing documentation, or organizing outreach events. Each of us brings a unique angle, and we encourage constant feedback—especially from our fellow students at the Institute of Digital Humanities, who are both co-creators and core users of the tools.

• • •

Challenges and Lessons Learned

Of course, no digital project is without hurdles. Training machine learning models on historical scripts has meant confronting the limits of existing datasets and annotation tools. Designing interfaces for a multilingual, cross-disciplinary audience has forced us to think carefully about clarity and adaptability. And balancing research with usability remains an ongoing effort.

But these challenges have been productive. They’ve taught us to take a step back and recalculate, document thoroughly, and centre accessibility at every stage. We’ve also learned the value of working in public: sharing early prototypes, inviting critique, and adapting based on what users actually need.

• • •

What’s Next?

As we move into our second year, we’re expanding in different directions. This year, we’re refining our tools with the help of classroom testing, user studies, and more targeted community engagement. We are hoping that, by releasing our website for Project eManuSkript, we will encourage a larger public to explore our current work, both to offer constructive criticism and feedback on what we have accomplished so far and to measure their accessibility and practical usability for scholars and students from all around the world.

We are continuously working to make the best out of each app and expand the limits of our tutorials by going beyond the traditional approach. Going forward, we will continue to generate new ideas, to maintain outputs that are open, free, and adaptable, and, ultimately, to develop the best technologies we can for digital manuscript studies.

A Thank You—and an Invitation

A Short Journal about the Summer School – Digital Palaeography

Written by Denise Siyum, master’s student at Universität Hamburg

The program of the summer school is all about digital palaeography. The lectures cover a range of topics, from learning about the different hands and scripts of the Middle Ages to digital methods including HTML or MSI that allow a deeper investigation of the manuscripts, I learned a lot that I can also apply to my own research.

About this summer school

On Sunday, the day before the school officially began, we all met each other over dinner where we had the chance to talk and connect casually while getting familiar with the city. People came from all over the world, and everyone was friendly and open-minded, last but not least the organiser of the summer school, Dr Anna Dorofeeva. She made sure everyone felt included, also throughout the summer school, and that no one was left behind.

The main events of the school took place in the Institute for Digital Humanities, and usually the first half of the day was spent on lectures and exercises on palaeography in general, different scripts and introduction to digital tools. On Monday, we were introduced to the State and University Library as well as the Conservation Department before we head to lunch together in the Mensa. The afternoon was spent with presentation by us where we introduced ourselves, our research or our general background. This was really interesting as most of us had similar interests but were familiar with different methodologies.

On the following days, we regularly switched from the Institute to the library and back, getting to know MSI (=multi spectral imaging) technology, digitisation conventions, entry-level coding with HTML and CSS and early medieval scripts. Everyone also tried out their crafts ability in sewing quires together (supported sewing as well!). These practical parts of the school were really fun and helpful in understanding not only the structure of books, but also programming under supervision and getting the first gist of it.

On Friday, the end of the first week, we all became excited for our first hands-on research on manuscript fragments. Everyone was handed an unknown fragment and started researching. Anna and Mona Kirsch, the head of the collection, offered their help so it was a lot of fun and not just frustrating when you couldn’t decipher much of the script.

After this, we were glad to be out in the heated streets of Göttingen. It was a lot of information in this week, interesting and helpful, but still a lot to digest. The weekend was our free time, and many used it to explore the surroundings of the city (like the Harz region, good for hiking) or other nearby cities (like Hildesheim or Fulda).

The train ride to Wolfenbüttel– Discovering more manuscripts

Upon arrival, we were greeted with some refreshments, before we locked away our stuff and listened to an introduction about the library and its collectors presented by the head of the manuscript department, Dr Christian Heitzmann.

Afterwards, we spread out to walk around the small village that is Wolfenbüttel (beautiful Fachwerkhäuser!) where we had lunch.

Everyone was back on time for the manuscript session – some of us ordered specific manuscripts to look at, the others randomly chose one of the offered objects and started their research on them.

After working through the whole afternoon plus an additional half an hour, we were really tired and glad to walk to the train station to start our two-and-a-half hours journey back to beloved Göttingen.

Looking Back on the summer school

Dr. Dorofeeva was so kind as to shift the starting time of the next day half an hour back so that everyone could get enough sleep for the second week. It was again a mixture of the introduction of different scripts like Uncial and sessions about book bindings, book furniture, or digital tools like digital microscopy that allows a very close look at inks and parchment. The second week flew by so fast, and on Friday we were allowed to look at some precious objects that the library of Göttingen holds before we all had to say goodbye to Dr.Dorofeeva and her great team. It was a wonderful two weeks that taught us a lot.

The use of digital tools is a growing aspect in research and all the more important in palaeography, where computational methods could help identify local scripts and even more. The field is growing, and learning about digital humanities and methods is inevitable. The summer school and Anna Dorofeeva showed me just how important and gave a great introduction to a diverse field of possibilities that need further investigation to apply them to individual research.

I would highly recommend this summer school as it is intense, but it is so valuable, well-structured, and fun.

Unlocking the Past: A Journey Through Manuscripts and Digital Tools in Göttingen

Author: Davide Obili, PhD student at the University of Bologna

Attending the Summer School of Digital Palaeography in Göttingen was a fantastic experience, and I would highly recommend it to anyone interested in Manuscript Studies or Digital Humanities.

 

The programme offered a well-balanced mix of theory and practice, giving us a great introduction to the history of Latin scripts and the material aspects of the medieval book, as well as to a wide range of digital tools and methods for Palaeography and Digital Text Editing, which was exciting as it showed us new possibilities in the field. One of the highlights was getting to see and work withreal medieval manuscripts and fragments, both in Göttingen and during our day trip to Wolfenbüttel.

Anna Dorofeeva and all the other teachers were not only highly knowledgeable but also approachable and friendly, and the entire organising team was always available to help us, creating a welcoming and supportive learning environment. Meeting and connecting with the other participants was another great part of the experience, as it made the stay in Göttingen educational and fun.

 

It was an enriching experience, and I would recommend it to anyone considering applying for future summer schools.

 

 

The Abbey of Saint Andrew

This text was written by the MA student Luana Moraes Costa.

The Basilica of Saint Andrew was founded between 1219 and 1227 on the initiative of Cardinal Guala Bicchieri, who had just returned from England where he had served as papal legate. Bicchieri received perpetual rights to the income of St. Andrew’s Church in Chesterton, near Cambridge, from King Henry III. With this financial support, he brought Augustinian canons from Saint-Victor in Paris to oversee the construction of the new abbey and pilgrim hospital along the Via Francigena, with the hospital’s construction commencing in 1224.

The Basilica of Saint Andrew. Photo: Carlo Dell’Orto, 2013. From Wikimedia Commons.

The French influence on the basilica’s construction was significant, particularly regarding the introduction of Gothic elements. Although the architect remains unknown, it is presumed that the Gothic lines of the new edifice were introduced by French clerics, including Abbot Thomas Gallus, previously a professor at the University of Paris.

Inside of the Basilica of Saint Andrew in Vercelli. Photo: Luana Moraes Costa, 2024.

The cloister of the basilica, built in the 13th century and later remodeled during the transition from the Vittorini to the Lateran canons, remains a crucial element of the monastery’s architecture.

Cloister of Saint Andrew’s Abbey in Vercelli. Photo: Luana Moraes Costa, 2024.

Inspired by Cistercian models, the presence of both Gothic and Romanesque influences in the basilica connects it to the architectural traditions of northern Italy and suggests the involvement of an Italian master in the design. The fusion of these architectural styles gives the basilica a unique identity and reflects the cultural and artistic exchanges that were prevalent during the construction period. 

Inside of the Basilica of Saint Andrew in Vercelli. Photo: Luana Moraes Costa, 2024.

Vercelli played a very important role as a geopolitical crossroads during the construction of Saint Andrew’s Abbey. Situated along the Via Francigena, a major pilgrimage route connecting Canterbury to Rome, the city served as a meeting point for travelers, traders, and pilgrims from diverse backgrounds and cultures. This context of cultural exchange and interaction certainly influenced the basilica’s development and its significance as an architectural and religious landmark in the region.

Bibliography:

  • Italia.it. Basilica di Sant’Andrea. <https://www.italia.it/it/piemonte/vercelli/la-basilica-di-sant-adrea>
  • Sant’Andrea Verccelli Official Website. <https://santandreavercelli.com>
  • S. Baiocco, S. Castronovo, E. Pagella, Arte in Piemonte. Il Gotico, 2004, Priuli e Verlucca Editori, Ivrea, ISBN 88-8068-225-3.
  • G. Vergani, “L’Italia settentrionale. Le contaminazioni del Gotico”, in La Storia dell’Arte, Vol 5, cap. 13, 2006, Electa and La Biblioteca di Repubblica, Milan.
  • M. Cappellino, Il coro ligneo della basilica di S. Andrea. Agiografia Canonicale in un codice vercellese, 1989, Vercelli.