This description is a preliminary draft and is subject to change without notice
Uppsala University Library, Gr. 44 (Olim Benzelius 11)
i, 191 ff.
285 × 195 mm
The textual transmission of Julius Africanus has long been under discussion. The so-called Apparatus Bellicus is nowadays considered a compilatory product from the late 9th or early 10th century Constantinople, a collection of earlier tactical fragments along with some minor authorial additions. The first part of it (ch. 1–30, following Thevenot’s numbering; from Περὶ ὁπλήσεως to Ἐπισφράγισμα περὶ βέλων) comes from Julius Africanus’ Kestoi, as is also stated in our manuscript. The middle part (ch. 31–59; from Πῶς δι οἴνου κτλ. to Περὶ τους πολλοὺς κτλ.) is a compilation on military technology from various authors; among them Sextus Julius Africanus, Aeneas Tacticus, and Polyaenus have been attested. The last part (ch. 60–79 in Thevenot’s numbering; from Περὶ τοξείας to Περὶ φυλακῶν in our manuscript) probably stems from Syrianus Magister ’s military compendium, with some minor authorial additions at the end. See also the discussion in Mecella (2009) ..
Bookblock:f. SL1r and pp. 1, 3–4, 6, 10, 12, 15, 81, 191, 345 Scattered Greek marginal glosses in brownish black ink and brief comments in Latin, possibly by the same cursive minusculehand. Deletion of notes and title information on pp. 1, 81, 345.
pp. 3–379 Andreas Darmarios. For a description of the well-known minuscule hand of this professional scribe, see RGK vol. 1, no. 13.. pp. 13–14, 19, 23, 43, 47, 54, 65, 84, 92, 97, 350, 358, 369, 374 Nicholas de la Torre, who uses a right-sloping, ornate minuscule. Letters and spiritus often connected with the accents; extended, upright grave and acute accents; Iota subscriptum. Only the captions and illustrations are in de la Torre’s hand. These appear in the first five texts in the manuscript (Athenaeus, Biton, Heron’s Cheiroballista, Heron’s Belopoeica, and Apollodorus) and in the last text (Heron’s Belopoeica). See further under Illustrations. pp. 93, 127–129, 139, 141, 191, 235, 348 Marginal notes in pencil in a modern hand, with references to Thevenot’s edition.
Rubrics and initials in red ink throughout. On (p. 1), a headpiece in black ink with a vegetal pattern consisting of convolute hairlines, buds and curlicues. Similar design in red on larger initials.
Pen-drawn illustrations in black ink, showing war machinery and technical details: pp. 13–14, 17, 19–20, 23, 26, 29, 33, 41, 43, 45, 47, 54, 59, 61, 64–65, 67, 69, 73, 76, 79–80, 84, 86–90, 92–93, 96–99, 101, 104–107, 110, 114–115, 117, 119, 121–122, 124, 126, 128, 267, 269–270, 350, 355, 358, 360, 362, 364, 369, 374, 378–379.
Most of the illustrations seem to have been sketched by Nicholas de la Torre. At least the captions are in his hand and the same ink was used for the drawings. The exception to this are the geometrical figures on pp. 267, 269–270, which were probably sketched by the main scribe, Andreas Darmarios.
Light yellow parchment case binding over pasteboard created from manuscript waste paper with Spanish text on it. Sewn on four supports; only the endband slips are laced through the cover and turn-ins. Endbands in pink and green with front bead; Two pairs of ties at foredge. Red mottled edges.
Pastedown and one flyleaf to the left; no endleaves to the right, where, instead, the last leaf of the gathering has been used as pastedown. A stub is visible after the first and before the last gathering. On the left flyleaf there is a watermark.
Binding dimensions: 290 × 205 × 45 mm
Unit I:The codex was written by Andreas Darmarios, probably in Venice around 1565–1570, on the basis of Scorialensis Phi. II. 22.
In the mid-1570s, Darmarios probably brought the codex to Spain in order to sell it to Antonio Agustín, bishop of Tarragona. The lost Escorial codex, Scorialensis Epsilon. II. 20, which used to belong to Agustín, may be identical with our codex (Agustín no. 226), but there is no hard evidence to prove it, except that the contents match up. Agustín’s numbering is usually placed in the left lower margin of the first page, which happens to be heavily damaged and restored in our codex.