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brevique adn. critica instruxit W. M. Lindsay, Oxonii 1910² (1904).

      Plaute, Comédies, texte établi et trad. par A. Ernout: IV 1 Menaechmi, Paris 1936.

      Titi Macci Plauti cantica, edidit apparatu metrico instruxit Caesar Questa, Urbino 1995.

      Plautus, Menaechmi, ed. by A. S. Gratwick, Cambridge 1993.

      Plautus edited and translated by Wolfgang de Melo, II 5 The two Menaechmuses, Cambridge, Mass. / London 2011.

      Titus Maccius Plautus Menaechmi, edidit Georgia Bandini, Sarsinae et Urbini 2020.

      Prete, Sesto: Camerarius on Plautus, in: Frank Baron (cur.): Joachim Camerarius (1500–1574). Beiträge zur Geschichte des Humanismus im Zeitalter der Reformation, München 1978, 223–230.

      Questa, Cesare: Parerga plautina. Struttura e tradizione manoscritta delle commedie, Urbino 1985.

      Raffaelli, Renato: Critica del testo e analisi del racconto (Miles Gloriosus, 770), in: Esercizi Plautini, Urbino 2009, 315–326.

      Ritschl, Friedrich: Über die Kritik des Plautus, in: Opuscula philologica, II, Lipsiae 1868, 95–114.

      Ritschl, Friedrich: Zur Plautuslitteratur, Rheinisches Museum für Philologie 26, 1871, 483–488.

      Ritschl, Friedrich: Bio-bibliographisches zu Camerarius’ Plautus-Studien, in: Opuscula philologica, III, Lipsiae 1877, 67–119.

      Sandys, John Edwin: A history of classical scholarship, II, New York 1908.

      Schäfer, Eckart: Plautus-Philologie im Zeichen des Camerarius, in: Rolf Hartkamp / Florian Hurka (cur.): Studien zu Plautus’ Cistellaria, Tübingen 2004, 437–476.

      Seyffert, Otto, Zu Plautus, Philologus 25, 1867, 439–470.

      Stärk, Ekkehard: Camerarius’ Plautus, in: R. Kössling / G. Wartenberg, Joachim Camerarius, Tübingen 2003, 235–248.

      Tontini, Alba: Il codice Escorialense T. II. 8. Un Plauto del Panormita e di altri?, in: Studi latini in ricordo di Rita Cappelletto, Urbino 1996, 33–62.

      Tontini, Alba: Censimento critico dei manoscritti plautini. I. Biblioteca Apostolica Vaticana, Memorie dell’Accademia Nazionale dei Lincei 15, 2002^a, 271–534, tavv. I–XXX.

      Tontini, Alba: La tradizione manoscritta umanistica, in: Cesare Questa / Renato Raffaelli (cur.), Due Seminari Plautini, Urbino 2002^b, 57–88.

      Tontini, Alba: Censimento critico dei manoscritti plautini, II, Le biblioteche Italiane, Memorie dell’Accademia Nazionale dei Lincei, 26, 2009, 1–499, tavv. I–XLVIII.

      Zangemeister, Carolus: Plautus, Codex Heidelbergensis 1613 Palatinus C, Lugduni Batavorum 1900.

      Camerarius Camelarius

      A New Salt Road to the Modern World

      Michael Fontaine (Ithaca)

       Camerarius d.Ä., JoachimEt mihi Erasmiaco liceat re ludere more;

       seria materia est, Musa iocosa levet.

      1. The title explained; a proposition; the argumentum

      In 2017 I discovered two letters that shed new light on the transmission of Plautus’ comedies from antiquity to the Early Modern period. One concerns (probably) the “Decurtatus” manuscript and the other concerns the 1552 Basel edition that Joachim CamerariusCamerarius d.Ä., Joachim the Elder based on it.1 To keep the exposition moving, I’ve chosen a fun title inspired by ErasmusErasmus von Rotterdam’Erasmus von Rotterdam Praise of FollyErasmus von RotterdamLaus stultitiae (1509), which he dedicated to Thomas More:

      I decided to write a fun essay in praise of folly. “What stroke of genius put that in your head?” you’ll say. Mainly it was your last name, More, which comes as close to the word moria (folly) as you are far from the thing.2

      Like ErasmusErasmus von Rotterdam, I hope a little fun will lighten up the serious points I have to make. Consider this proposition:

      Quisquis habet Plauti libros cimelia3, peccat:

      qui vehit usque sales, iure camelus erit.

      It’s natural to think of manuscripts of Plautus’ comedies as cimelia, heirlooms or rare books. But as vectors of sales – salt or jokes – we could also think of them as camels. Analogously, we can think of the scholars who deliver their cargo to us like the traders who have, from time immemorial, traversed the Sahara Desert on camelback to bring slabs of salt from mines to markets. And of all such camelarii, camel drivers, none enjoys greater glory than Joachim CamerariusCamerarius d.Ä., Joachim (1500–1574). As the following argumentum summarizes, I intend to remap the “salt road” he traveled in bringing Plautus’ comedies from antiquity to his own times:

      Carvanâ superat Libyae solitudines

      Arabs camelorum, insulsis ut portet salem:

      Modo qVo caballIs, asInIs DICVntVr ManV4

      Exscripti in Latium allati super Alpes libri,

      Leone5 duce: is Palatino tractas Lari

      Asportat6 spolia, Plauti membranas duas

      Relegatque Romam. Dignius CamerariusCamerarius d.Ä., Joachim?

      “Insulso cuique relegendo illos aperuit

      Veteres vectores (nactus quos fuerat prior7)

      Salis, salvomque ad nos DetulIt caMeLarIus.”

      2. The Standard Account

      In 1552 CamerariusCamerarius d.Ä., Joachim published an epoch-making edition of Plautus’ comedies in Basel (reprinted there in 1558); later scholars heaped praised on him for “healing” the text of Plautus.1 If you read a standard account of the salt road CamerariusCamerarius d.Ä., Joachim traversed to earn this praise, it goes like this2:

      With the decline of Rome in the West, the majority of Plautus’ comedies were not recopied and eventually forgotten. For a thousand years nothing changed until, in 1428 or 1429, the German monk Nicholas of CusaKues, Nicolaus von (1401–1464), known as Cusanus, lit a stick of dynamite, threw it into Italy, and sparked the Renaissance.

      Not real dynamite, of course, but a one-humped “camel.” In 1428, Cusanus had found a manuscript in Trier that contained twelve of Plautus’ lost plays (viz. BacchidesBacchides + EpidicusEpidicus to TruculentusTruculentus). He took it to Rome and gave or sold it to Cardinal Giordano OrsiniOrsini, Giordano (Kardinal) (1360/70–1438). Today that camel is called the codex Ursinianus, abbreviated manuscript D (Vaticanus Latinus 3870). Four decades later, the Venetian professor Giorgio MerulaMerula, Giorgio (c. 1430–1494) made it the basis for creating the first complete printed edition of Plautus; he published it in Venice in 1472. Others soon pirated MerulaMerula, Giorgio’s text, and it thus became the first vulgate.

      Back in Germany, Joachim CamerariusCamerarius d.Ä., Joachim was born in 1500 in Bamberg. In 1513, he began studying Plautus at Leipzig University with a charismatic professor and Plautophile named Veit (i.e. Vito) WerlerWerler, Veit (1480s – after 1536).3 In 1530, CamerariusCamerarius d.Ä., Joachim published two comedies in Nuremberg, MenaechmiMenaechmi and MostellariaMostellaria, that he had reedited on the basis of new manuscript sources. A decade later, he published two more partial editions in Leipzig, one in 1545 and the other in 1549. In 1552, CamerariusCamerarius d.Ä., Joachim finally published in Basel his epoch-making, complete edition of all of Plautus’ 20 comedies. In 1558, he published a corrected reprint that became the second vulgate; it remained the basis of every subsequent edition for the next 250 years.

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