Peter of Poitiers conceived the *Compendium historiae in genealogia Christi* in Paris in the late 12th century, a time of intellectual renewal. Structured as a genealogical diagram, the work provides a concise overview of biblical history from Adam to Christ, depicting all of Christ’s direct ancestors as well as the lineages of ruling dynasties, priests, and prophets. Like a timeline, this creates a synoptic picture of both diachronic and synchronic relationships between people and events. This graphically innovative work spread rapidly throughout the Latin West, appearing both on scrolls and in codices (in the latter case, usually as a secondary transmission). To date, the project has identified more than 320 manuscripts (including many previously unknown ones). In Phase I, the enormous breadth and diversity of the tradition were recorded in a database, providing a precise picture of both the contexts of transmission and the variants of the work. Of particular significance are a “short” and an “interpolated” version of the text, which, however, appear in extremely heterogeneous graphic and visual forms; initial groups of variants have been identified. The earlier, “short” version was made accessible through a visual edition (a navigable graph with two additional presentation layers for related sections and individual elements), a critical text, and a scholarly commentary on graphic structures, exegetical diagrams, and the work’s historical and intellectual-historical context. All project results will be made available via an online portal. Building on this foundation, Phase II will treat the *Compendium historiae* as a “living work” that, through its spatially and temporally expansive appropriation, exhibits an enormous range of variation in its graphic structure, texts, diagrams, illustrations, and, ultimately, its iconographic program. This approach will also bring into focus the work’s functions for various audiences, as well as its influence and impact. We will focus on four objectives: (1) Uncover textual dimensions of referentiality (sources, people, places) and edit the “texts in motion” using an alternative navigation graph and readings of the interpolations. (2) To catalog and provide art-historical commentary on the diverse iconographic repertoire that fully unfolded from the 13th century onward (following the largely image-less early manuscripts). (3) To investigate connections between the adaptations and transformations of the work and its functions and target audiences. (4) To deepen the stemmatological analysis of textual and graphic variance from multiple perspectives, employing innovative methods of automated text and layout recognition and capturing the work’s structures through a formalized representation of graph variance.