The Digital Milliet
Since 2014, the Perseids team at Tufts University has been working on a digital edition of the Recueil Milliet, with generous support from the Samuel H. Kress Foundation. Our proof-of-concept website is now operational with sixty-three texts, translations, and commentaries. Data entry and development will continue in the coming years.
Our work on ancient textual sources concerning Greek and Roman painting takes a similar approach to that of the original Recueil Milliet. We offer an interactive collection of the ancient Greek and Latin texts about painting. Every single text is to be accompanied by a bilingual translation (English and French) and a commentary produced in the light of current knowledge about ancient Greek and Roman painting. Each passage has a persistent identifier and the passages are digitally tagged, on the level of the passage and within the text, indicating the major subjects demonstrated in the texts and images. These tags make up a bilingual index to the collection. The texts and enhancements are saved in the Open Annotation data model, a standardized framework for creating annotations on resources in the world wide web. Leveraging this growing standard makes our data easily readable and reusable, and therefore potentially interoperable with other projects. Finally, the collection includes textual and iconographical comments that explain technical points about ancient painting such as shadowing, perspective, symmetry, and outline drawing. Although the works of art described in ancient texts are lost, archaeological materials nonetheless renew and increase our knowledge about ancient painting and allow us to offer concrete examples of classical painting to illustrate or accompany the descriptions found in ancient texts.
The Conference
It is widely known that ancient Greek painting was mostly passed down to us through textual sources. These texts of ancient Greek or Latin authors, mostly dated from the 1st to the 2nd centuries CE, such as Pliny the Elder, Pausanias or Philostratus, offer a valuable testimony which enables us to establish the (partial) history of ancient Greek painting since its beginnings. Of course, these texts do not teach us everything we would like to know about ancient painting, because in the absence of the paintings themselves it is very difficult to write a history of painting that is devoid of suppositions or educated guesses. Yet, archeology has provided and still provides us with valuable information, on the one hand in terms of iconography (in particular through vase painting, but also from wall paintings and floor mosaics) and on the other hand on the techniques used for the treatment of color, thanks to the recent discoveries of Macedonian burial painting. This material can be compared to the texts and confirm or invalidate what ancient authors tell us about painting: names of painters, techniques, title and subject of the works, location of these works, under which circumstances these works were commissioned etc. Much more than trying to reconstruct paintings that are lost forever, the texts, compared to the iconographic and archaeological material we possess, make it possible to place these paintings in their historical and cultural context. This is the challenge of the Digital Milliet: to go back, once again, through the Greek and Latin texts on painting assembled in early twentieth-century collections, following the example of the Recueil Milliet, published by Salomon Reinach in 1921, as well as to compare them with the most recent archaeological findings and historiographical research in order to offer a fresh approach and a new reading of these texts, often known only to specialists.
Creating a corpus of texts devoted to a particular subject is in itself not completely new; however, a corpus supported by digital technology is such indeed, offering an undeniable working flexibility, especially since it is possible to update the data often in a digital collection. The Digital Milliet is the result of two years of work and currently offers some fifty texts devoted to ancient painting, to which images and “keywords” have been added, allowing for the creation of thematic collections.
The conference we are proposing will have as its starting point the Digital Milliet seen as a working tool, and will connect Digital Humanities with Art History. Therefore, this conference has two parts, each of which has a distinct focal point. The first part will be devoted to methodology and digital tools, aiming to provide an overview of the means and methods of research in Ancient Art History. In other words, how do we make Art History in the digital era, when the abundance of data dominates? What tools and methods should we consider? What kind of applications should we envision for digital resources? What are the inputs from a database such as the Digital Milliet?
The second part will be devoted to questions raised by the creation of the Digital Millet, and more broadly to the place texts occupy in Ancient Art History when they are confronted with material sources: what do these texts teach us and what do they not teach us? This section will also be devoted to historiographical questions, and particularly to the choices made by Adolphe Reinach in the process of interpreting the texts (readings of the ancient text, notes, translations) in his original edition of the Recueil Milliet. Therefore, it will be necessary to put the Recueil Milliet in its own historical context in order to get a better understanding of it that goes beyond the mere re-representation of the texts that are gathered in this corpus.