Looking for a story about an exiled princess who married a count called Drogo? Forget Daenerys: the real story revolves around Godgifu.

Initial B from a Gospel-book, England (Canterbury?), 11th century, Royal MS 1 D III, f. 9r

The British Library has recently digitised an intriguing 11th-century Gospel-book. This manuscript is full of surprises: a red-eyed figure pops out of an arcade surrounding some canon tables. An initial in red and orange decorated with criss-crossed and curly patterns jumps out at the start of the Pater Noster. In other parts, the manuscripts seems to be unfinished, with blank spaces left for initials which were never completed. And at the bottom of a page with a giant initial ‘B’, a 13th-century monk left a useful note, which claims that this 'text [belongs to] the church at Rochester, through Countess Goda.’

Canon tables, from Royal MS 1 D III, f. 4r

‘Countess Goda’ can probably be identified with Edward the Confessor’s sister, called Godgifu or Gode. Although she was the daughter of Æthelred the Unready and Emma of Normandy, little is known about Godgifu herself. Like her brothers, she probably spent some time in exile on the Continent in the years before and after her father’s death in 1016. At some point, she married Drogo (sometimes spelled Dreux), count of Vexin, with whom she had three sons, including Walter (or Gautier) of Vexin and Ralph the Timid, Count of Hereford, who accompanied his uncle Edward the Confessor to England and supported Edward throughout his reign. When Drogo died in 1035, Godgifu married Eustace II, count of Boulogne. It is not known when Godgifu died: some scholars suggest she predeceased her brother Edward the Confessor. She should not be confused with her contemporary who was also called Lady Godgifu—or Lady Godiva—who allegedly rode naked through Coventry to protest a toll imposed by her husband Leofric, Earl of Mercia. (At least, that is what the 13th-century chronicler Roger of Wendover claimed.)

Pater Noster, from Royal MS 1 D III, f. 23v

While Godgifu left England, her manuscript did not, or at least not permanently. The book was in an Anglo-Norman environment by the end of the 11th-century, when an ‘Exultet’ with musical notation was added to the opening pages. Although the text is written in a style associated with English scribes, musicologists have suggested that the music represents the Norman version of the melody.

Exultet with musical notation, England (Canterbury?), late 11th century, Royal MS 1 D III, f. 7v

The book may have stayed with one of Godgifu’s former manors. After Godgifu’s manor of Lambeth was given to Rochester Cathedral by William Rufus, the book may have been taken to the Cathedral, where it was recorded in the list of books copied or acquired by Alexander, the precentor, soon after 1201.

Detail of a library inscription, England (Rochester), c. 1201, Royal MS 1 D III, f. 9r

Although little is known about Godgifu today, her name evidently meant something to the 13th-century member of the Rochester community who chose to inscribe it. And while librarians never encourage writing in books, scholars are indebted to this anonymous scribe for giving us a glimpse into the world of Godgifu.

~Alison Hudson

Today marks the 1000th anniversary of the death of King Æthelred II (reigned 978-1016). Æthelred II—often nicknamed Æthelred the ‘Unready’, from the Old English word for 'ill-advised'—has not enjoyed a glowing reputation throughout history. 

Passage describing Æthelred’s death from the Anglo-Saxon Chronicle C-text, England, 11th century, Cotton MS Tiberius B I, f. 153v

The longest narrative account of Æthelred’s reign comes from a group of entries in the C, D, and E texts of the Anglo-Saxon Chronicle. (The British Library possesses the C and D texts and has recently digitised all its copies of the Anglo-Saxon Chronicle.) These entries were apparently composed after Æthelred’s death by a single chronicler, who was bitter about the repeated Viking invasions that had dogged Æthelred’s reign and the eventual conquest of England by the Scandinavian leader Cnut. The chronicler blamed Æthelred for many of these tribulations, and summed up Æthelred's life in his entry for 1016 by saying: 'He ended his days on St George's day, and he had held his kingdom with great toil and difficulties as long as his life lasted' (translated by Dorothy Whitelock and others, The Anglo-Saxon Chronicle: A Revised Translation (London: Eyre and Spottiswoode, 1961), p. 95).

Passages describing Eadric Streona’s treachery from the Anglo-Saxon Chronicle D-text, England, 11th century, Cotton MS Tiberius B IV, f. 65v

In particular, the chronicler objected to Æthelred’s promotion of the treacherous noble Eadric Streona, who eventually joined Cnut’s forces. He also disapproved of the massive payments which English leaders collected and used to pay Viking forces in return for an end to hostilities. 

Detail of a list of benefactors including ‘Æðelred [the Unready] Cynge' and 'Cnut Cynge', from the New Minster Liber Vitae, England (Winchester), 1031, Stowe MS 944, f. 25r 

Despite the eventual conquest of Æthelred’s kingdom by Cnut, there are other suggestions that Æthelred was not an entirely incompetent ruler. Æthelred was one of the longest reigning early medieval kings: he ruled for approximately 38 years, even taking into account the period when the victories of the Viking leader Swein forced him into exile in Normandy in 1013 and 1014. By contrast, Æthelred’s father, Edgar the Peaceable, had only reigned for 16 years, and Æthelred’s successor Cnut reigned for 19 years. Æthelred’s longevity, particularly in the context of invasion and disruption, is remarkable.

Initial at the start of the Gospel of St Luke, from the Cnut Gospels, England, Royal MS 1 D IX, f. 70r

In addition to disruption, Æthelred’s reign also saw a flourishing of artistic production, as evidenced by several manuscripts in the British Library’s collection, which have now been digitised in full. These include the lavishly illustrated and gilded gospel-book pictured above which may have been made during Æthelred’s reign, even though it is known today as the ‘Cnut Gospels’ because charters of Cnut were later added to it around 1018.

Page from Beowulf, England, c. 1000-1016, Cotton MS Vitellius A XV, f. 140r

Similarly, the only surviving manuscript of the longest Old English epic, Beowulf, was copied during Æthelred’s reign, in the early 11th century. Curiously, Beowulf is a Geatish, or Scandinavian, hero, whose story was still being retold in a context of Scandinavian invasions of England. This manuscript contains a number of other notable texts as well, including an Old English poem about the Biblical heroine, Judith.

Deatil of the opening page of Ælfric’s Life of St Æthelthryth, from Ælfric’s Lives of the Saints, England (? Bury St Edmunds or Canterbury), 1st half of the 11th century, Cotton MS Julius E VII, f. 94v

Indeed, many of the most important works in the corpus of Old English literature were copied during Æthelred’s reign, and some were even produced then. In particular, Æthelred’s reign coincided with the career of Ælfric of Eynsham, one of the most prolific and talented authors of Old English works. Ælfric’s sermons, including his Lives of the Saints, his Grammar, and other texts were widely copied during the 11th century and are still studied in medieval English literature courses today. The British Library has now digitised two copies of the first series of Ælfric’s Catholic Homilies (see Cotton MS Vitellius C V), including the earliest surviving copy (Royal MS 7 C XII); one copy of Ælfric’s Lives of the Saints (Cotton MS Julius E VII); two copies of Ælfric’s Grammar (Cotton MS Faustina A X, Cotton MS Julius A II); a copy of the Old English translation of the Hexateuch, to which Ælfric was a principal contributor (Cotton MS Claudius B IV); and other works which include excerpts from Ælfric, such as a  fragment of a colloquy associated him which was copied into the margins of a grammar book (Add MS 32246).

Page from a later copy of Ælfric’s Hexateuch, England (Canterbury), c. 1025-1050, Cotton MS Claudius B IV, f. 15v

Æthelred’s reign also coincided with the careers of other noted writers in Old English and Latin, including Wulfstan, bishop of Worcester and archbishop of York, and Wulfstan, cantor of the Old Minster, Winchester. Manuscripts of these men’s work—including some with additions and annotations in Wulfstan of Worcester’s own hand—have also recently been digitised, including Wulfstan of Winchester’s long Latin poem about the miracles of St Swithun (Royal MS 15 C VII).

 
Page from the Rule of St Benedict, England, c. 975-1016, Harley MS 5431, f. 44r

These writers were all products of the monastic reform movement which promoted the Rule of St Benedict, uniformity of lifestyle, and high standards of education. Much manuscript evidence of this learning survives, including a plethora of grammar books, glossaries, and texts on subjects from astronomy (Cotton Domitian A I) to Latin epics to hagiography to riddles.

Page from Prudentius' Psychomachia with illustration and glosses, England (? Bury St Edmunds), c. 980-1020, Add MS 24199, f. 12r

These texts show monks (and possibly nuns and lay people) studying and improving their Latin and even Greek.

Latin phrase ‘Deo gratias’ written in Greek letters, from  Harley MS 5431, f. 106v

This artistic flourishing was not entirely unrelated to the troubles of Æthelred’s reign. Many members of Æthelred’s kingdom believed that the Viking invasions were divine punishment for lax practices and lack of learning. This view can, for instance, be found explicitly in the writings of another leading intellectual of Æthelred’s reign: Wulfstan, bishop of Worcester and archbishop of York, who wrote several law codes issued in Æthelred’s reign and was a senior administrator for him (and later, for Cnut). Wulfstan’s law codes and his famous ‘Sermon of the Wolf to the English’ blame his countrymen’s lax habits for Scandinavian forces’ recent victories. In the eyes of contemporaries, creating beautiful books to glorify God and educate clerics and lay people may have been one way to combat the country’s moral (and military) woes.

Page from Wulfstan’s Sermo lupi, England (? Worcester or ? York), Cotton MS Nero A I, f. 110r

Beyond the manuscripts related to art and learning, we have also recently digitised a series of documents which suggest that, in some regions at least, leases and property deals and farming continued apace during Æthelred’s reign. Such documents can be found in an early cartulary of Worcester, such as the Liber Wigorniensis (Cotton MS Tiberius A XIII, ff. 1-118v) and the Ely farming memoranda (Add MS 61735). The memoranda describe farm tools and livestock sent from Ely Abbey to Thorney Abbey, as well as rents payable in eels.

Grant by King Æthelred to the Bishopric of St David with reversion to Worcester from 1005, from the Liber Wigorniensis, England (Worcester), c. 1000-1025, Cotton MS Tiberius A XIII, f. 118v

Whatever one thinks of Æthelred, it cannot be denied that his reign was a fascinating time in political and artistic history. On 23 April 2016, when so many people around the world are celebrating the 400^th anniversary of Shakespeare’s death, it is worth pausing to remember that it is also the 1000^th anniversary of the death of King Æthelred.

~Alison Hudson

There's something thrilling about seeing a literary work copied out in the author's own handwriting. What did he or she cross out? Was their writing neat or messy? Here at the British Library, we have recently digitised manuscripts which the author of the text copied in his or her own hand. These include works by famous figures, like Shakespeare and more enigmatic ones, like a poet named Frithegod. 

Image of a scribe, from Germany (?), mid-12th century, Cotton Claudius A III, f. 30r

Such ‘autograph’ manuscripts from the early modern and medieval periods are rare and often difficult to prove. Features such as spelling, punctution and substantial corrections can all be instructive. The British Library has recently digitised several manuscripts which are generally believed to be autograph copies or contain notes by known scribes.

Miniature of Margaret of York before the resurrected Christ, from Nicholas Finet, Dialogue de la Duchesse, Low Countries (Brussels), c. 1468, Additional 7970, f. 1v

For example, one newly digitised manuscript includes the handwriting of Margaret of York, Duchess of Burgundy. The Dialogue de la Duchesse de Bourgogne à Jésus Christ (Dialogue of the Duchess of Burgundy with Jesus Christ) was a devotional tract written especially for Margaret by her almoner or chaplain, and is discussed in more detail here. Margaret later gave the book to her friend and lady-in-waiting Jeanne de Hallewin, according to a dedicatory inscription written by Margaret herself at the end of the manuscript: ‘margarete dyork de angleterre au done a jane de halevyn dame vessenar et dame de la planc se lyvre...’ Interestingly, at some point Margaret erased the words ‘dyork’ (of York) and instead decided to describe herself as ‘de angleterre’ (of England).

Dedication in Margaret of York’s hand written c. 1502, from Additional 7970, f. 140vr

Another notable recent upload to the British Library's website may come from the pen of the most famous English author himself. The Book of Sir Thomas More is the only play script believed to contain Shakespeare’s own handwriting (Harley MS 7368). As noted on this blog in February, Shakespeare helped to revise the Book of Sir Thomas More in 1603 or 1604. The page in his handwriting includes a speech defending immigrants and foreigners against the ‘mountainish inhumanity’ of a mob seeking to banish them during the Evil May Day riots of 1517. Come and see it in person at the British Library’s current exhibition, Shakespeare in Ten Acts, or read more about it on the Library's Discovering Literature site.

Page containing Thomas More’s speech to the rebels, thought to be written in the hand of William Shakespeare, from the Book of Sir Thomas More, England, c. 1603-4, Harley MS 7368, f. 9r

Shakespeare is not the only notable figure from the history English literature whose handwriting appears in recently digitised manuscripts. The handwriting of two of the most prolific Old English writers—Ælfric of Eynsham and Wulfstan, bishop of Worcester and archbishop of York— have been identified in several British Library manuscripts. For example, some scholars believe that the bossy instructions for deletions and corrections in the earliest surviving copy of the first series of Ælfric’s Catholic Homilies were made by Ælfric himself. In the passage below, the hand associated with Ælfric blocks off a segment of text for deletion, on the grounds that this anecdote is discussed in his ‘oðre bec’ (other book), presumably the Second Series of his Catholic Homilies.

 
Detail of annotations possibly in Ælfric’s hand, from Ælfric, Catholic Homilies (First Series), England (Cerne?), 990s, Royal MS 7 C XII, f. 64r

Similarly, several manuscripts contain annotations and underlining believed to be in Wulfstan’s handwriting. These include annotations to a manuscript containing law codes, homilies (including Wulfstan's Sermo lupi) and Wulfstan's work on political and social order, Institutes of Polity (Cotton MS Nero A I) and to material in his letterbook (Cotton Vespasian A XIV), as discussed in a previous blog post.

Page believed to contain Archbishop Wulfstan's handwriting among others, from Wulfstan's Institutes of Polity, England, c 1000-1023, Cotton MS Nero A I, f 120r

Curiously enough, one of the more substantial additions to the letterbook in Wulfstan’s own hand is a poem praising... an archbishop called Wulfstan. One line of this poem states, ‘[This poem's] beauty is a praise for the kind Bishop Wulfstan, to whom may the Lord be endlessly merciful.’ The poem also acknowledges Wulfstan’s involvement in its production: the last stanza can be roughly translated as, ‘This work was prepared with Archbishop Wulfstan advising. The subtle supervisor [Archbishop Wulfstan] impressed it with his learned thumb.’ It is unclear why Wulfstan wanted to copy out his poem in his own hand. He could have been paying a compliment to its author. He could have been vain or in need of some good PR. Wulfstan may also have been drawn to this poem because he was anxious about the fate of his soul and the poem emphasizes God’s approval of Wulfstan and Wulfstan’s place in heaven. This seems to have been a particular concern of Wulfstan’s in the wake of renewed Viking attacks in the early 11th century, as demonstrated by the contents of the rest of the manuscript. Wulfstan even added an extra line to the poem that approximately translates as, ‘May the Lord give [Wulfstan] the holy kingdom of heaven, and may he protect all those entrusted to him from malignant hosts.’

 
Verses written in Archbishop Wulfstan's own hand, from the letterbook of Archbishop Wulfstan, England, c. 1002-1023, Cotton MS Vespasian A XIV, f. 148v

 Recent uploads to Digitised Manuscripts also include a text which may have been copied almost entirely by its author: the Breviloquium Wilfridi, written by a figure called Frithegod (Cotton Claudius A I). The Breviloquium is a poem about an early Northumbrian saint called Wilfrid, written for Oda the Good, a mid-tenth-century archbishop who brought some of Wilfrid’s relics to Canterbury. Its complex structure and obscure vocabulary have led scholars to dub it one of the most difficult pieces of Latin ever written in England.

Page from Frithegod, Breviloquium Wilfridi, England? (Christ Church Canterbury?), mid-10th century, Cotton Claudius A I, f. 36v

The poem’s author, Frithegod, was probably a monk from the continent—possibly from Brioude, in what is now southern France—who was working for Oda at Canterbury. The script of the British Library’s manuscript of the Breviloquium shows it was copied down in the mid-tenth-century, when the work was first composed, by someone trained on the continent. The substantial nature of some of the corrections also suggests that the text was copied by Frithegod himself.

The way these writers interacted with the texts which they themselves had composed and the corrections they made suggest a whole array of possibilities about how they worked as writers, where they were educated, what their influences were, and even how they perceived themselves. Autograph manuscripts also offer a uniquely intimate connection to people who lived 400, 500, and even 1000 years ago: please click through to Digitised Manuscripts and have a look.

~Alison Hudson

Read More about Previously Digitised Autograph Manuscripts:

Christine de Pizan’s Book of the Queen

Digitised Manuscripts Update 

Chronicles of Holland Online

Documentary of a Royal Coronation

by Mary Wellesley

Today is the feast day of St Guthlac, a 7th-century saint from the Anglo-Saxon kingdom of Mercia. The British Library has digitised a number of manuscripts related to Guthlac, including the earliest fragments  of the 8th-century Life of Guthlac. Guthlac was a warrior in the Mercian border-lands who, after 9 years of fighting, had a religious conversion and became a hermit in Crowland, in Lincolnshire, where he lived in solitude on an island in the middle of a marsh. Guthlac’s cult was enormously popular, two Old English poems about him survive and he is mentioned in the Anglo-Saxon Chronicle. But aside from this, he is also of interest because the account of his life, written by a monk named Felix in around 740, is full of exciting battles with demons, vividly described. Felix's work is so vivid, in fact, that it at times it might even sound like a description of an acid trip.

Entry for 714 mentioning Guthlac’s death, from the Anglo-Saxon Chronicle B-text, England, c. 977, Cotton Tiberius A VI, f. 10r

Guthlac was born roughly 1 year later than Bede, around 674, and died in 715. He came from a tribe named the Guthlacingas.  Having given up his life as a soldier, he became a monk at the abbey of Repton for two years, where he was disliked by his fellow monks on account of his abstinence from alcohol. Feeling that he needed isolation in order to better contemplate God, Guthlac retreated to the Fens and took up residence in an ancient burial mound which had been partially excavated by treasure-hunters. He was visited in his cell by various people seeking his advice, including the Mercian king Æthelbald. Unfortunately for Guthlac, however, his life of quiet spiritual contemplation was often interrupted by terrible attacks from demons, which are described in some detail the earliest text about him:

  They were ferocious in appearance, terrible in shape with great heads, long necks, thin faces, yellow complexions, filthy beards, shaggy ears, wild foreheads, fierce eyes, foul mouths, horses’ teeth, throats vomiting flames, twisted jaws, thick lips, strident voices, singed hair, fat cheeks, pigeon breasts, scabby thighs, knotty knees, crooked legs, swollen ankles, splay feet, spreading mouths, raucous cries. 

In another episode, the devils visit him in the form of horrible beasts:

 Suddenly he heard a noise of as of a herd of beasts rushing together and approaching his dwelling with a mighty shaking of the earth. Straightway he saw manifold shapes of various monsters bursting into his house from all sides. Thus a roaring lion fiercely threatened to tear him with its bloody teeth: then a bellowing bull dug up the earth with its hoofs and drove its gory horn into the ground; or a bear, gnashing its teeth and striking violently with either paw alternately, threatened him with blows … the hissing of the serpent, the lowing of the ox, the croaking of the raven, made harsh and horrible noises to trouble the true soldier of the true God.

The British Library holds a late 12th or early 13th-century manuscript roll which contains 15 roundels illustrating the life of Guthlac. The image below shows Guthlac being carried to the gates of hell by the devils, which is described in another episode in the Life.

Drawing of Guthlac being carried to the gates of Hell by demons and being given a scourge by St Bartholomew with which to repel them, Harley Roll Y 6, roundel 8.  For more Hell-mouths in British Library manuscripts, see ‘Prepare to Meet Your Doom’. 

The story of his life, or ‘hagiography’, describes how Guthlac lived a life of strict abstinence: ‘from the time when he began to inhabit the desert [by which Felix means the Fen-land] he ate no food of any kind except that after sunset he took a scrap of barley bread and a small cup of muddy water.’ To the modern medical mind, there is a vital clue here. Writing in Health, Disease and Healing in Medieval Culture, M. L. Cameron proposes an fascinating theory about Guthlac’s visions of devils. Barley is one of the grains susceptible to the fungus ergot. Ergot produces a number of alkaloids of the ergoline family which, when ingested, can cause hallucinations in humans -- in April 1938 the Swiss chemist Dr Albert Hofmann synthesised a novel related compound, Lysergic acid diethylamide or LSD. So, perhaps Guthlac’s extraordinary visions of devils were, in fact, caused by his diet of Barley bread. Of course, Felix might have been describing an authentic spiritual experience, but the LSD theory is an intriguing one.

Page from Felix’s 'Life of Guthlac', England (? Worcester or ? Ramsey) c. 950-975, Royal 13 A XV, f. 13r. This page contains part of the first description of the devils quoted above. 

Like many medieval hagiographies, Felix’s Life of Saint Guthlac conforms to a particular pattern. The text is probably modelled on similar texts like the life Saint Anthony by Athanasius or Jerome’s life of Paul the Hermit. Felix succeeds in making Guthlac embody both the ideals of Christian sanctity and of Anglo-Saxon warrior society, so that Guthlac appears to be sort of a cross between St Anthony and a real-life Beowulf. It’s hard to know how much the account of his life can be trusted. But, there is a certain symmetry in the fact that Guthlac’s feast is celebrated today, which is almost exactly 78 years after Dr Hofmann discovered LSD. Hofmann’s diary entry for 19 April 1938 describes his experiences as he experimented on himself with the new compound. On arriving home that evening, a neighbour ‘Mrs R.’ brought him milk, except  ‘she was no longer Mrs. R., but rather a malevolent, insidious witch with a colored mask’. It’s a shame there isn’t a manuscript roll which illustrates the scene.

                 

The earliest fragment of Felix’s 'Life of Guthlac', Southern England, late 8th or early 9th century, Royal 4 A XIV, f. 107r

Happy Feast of Saint Guthlac!

@MaryWellesley 

 

Related:

On A Roll

Read more about the Guthlac Roll

Further Reading:

For more on the effect of ergot on hermit-saints, see M. L. Cameron, ‘The Visions of Saints Anthony and Guthlac’ in Health, Disease and Healing in Medieval Culture, ed. Sheila Campbell, Bert Hall and David Klausner (Basingstoke: Macmillan, 1992), pp. 152-58.

For the account of Guthlac’s life, see Felix’s Life of Saint Guthlac, ed. and trans. Bertram Colgrave (Cambridge: Cambridge University Press, 1956).

by Chantry Westwell

Spring is in the air and April is upon us, so it is high time for a floral gift to our readers. Here it is: all 14 of our Roman de la Rose  manuscripts have now been fully digitised and are or will soon be available online at Digitised Manuscripts. 

Detail of the God of Love locking the Lover's heart with a large gold key, from Roman de la Rose, France (Paris), c. 1380, Additional MS 42133, f. 15r

The ‘Roman de la Rose’, the most famous allegorical love poem of all time, was composed in France in the thirteenth century, at the height of the age of chivalry and courtly love. It was a best-seller in the Middle Ages, with over 300 manuscripts surviving from the 13th to the 16th centuries (many more than Chaucer’s Canterbury Tales).  This work exerted a strong influence on literature in France and beyond: Dante, Petrarch, Gower and Chaucer were well acquainted with it and the latter’s Middle English ‘Romaunt de la Rose’ is a partial translation.

Historiated initial 'M'(aintes) of the lovers sleeping, with a full border bar border at the beginning of the Roman de la Rose, France (Paris), 15th century, Royal MS 19 B XII, f. 2r

Our collections are representative of the types of Rose manuscripts produced, mainly in France: some have extensive cycles of miniatures and others, for more modest patrons, have little or no decoration. Below, a page from one of the most lavishly illuminated copies, made in Bruges, is compared to a plainer manuscript from France; both were produced in the 15th century.

Miniature of the Lover outside the Castle of Jealousy, where Bel Accueil (Fair Welcome) is imprisoned by Jealousy, from Roman de la Rose, Netherlands (Bruges), c. 1500, Harley MS 4425, f. 39r

Text page with decorated initials from the Roman de la Rose, France, 1st quarter of the 15th century, Royal 20 D VII, f. 39r

The first part of the Roman de la Rose, by Guillaume de Lorris, consists of about 4030 lines composed between 1225 and 1245 and tells of the Lover’s dream in which he is let into the garden by Oiseuse (Idleness), and there he takes part in a carole or dance, meets representatives of the courtly virtues, including Amour and  Doux Regard (Sweet glance) and sees the fountain where Narcissus fell in love with his own image and perished.  Narcissus and the fountain is a popular subject with artists, featuring in most series of Rose illuminations

Detail of Narcissus at the fountain, from Roman de la Rose, France (Paris), c. 1320-1340, Royal MS 20 A XVII, f. 14v

The Lover with a rosebud at Narcissus’ fountain, from the Roman de la Rose, France, 14th century, Additional MS 31840, f. 14r

The above are two of our earliest Rose manuscripts, dated to the first half of the 14th century, while the one below is from the second half of that century.

Narcissus and his reflection in the water, Roman de la Rose, France (Paris), c. 1380, Egerton MS 881, f. 11r                                      

Finally in a late 15th-century representation the Lover sees the rose bush reflected in the fountain:

Narcissus and the fountain, Roman de la Rose, France (Paris), 1475-1500, Egerton MS 2022, f. 22v

The Lover is wounded by the arrows of Amour, falling hopelessly in love with the Rose and embarks on a quest to win her love, but she is guarded by Danger, Fear and Jealousy, who erects a castle around the Rose bush (see the image above from Harley MS 4425), and imprisons Bel Acueil, his sweet accomplice. Here the section by Guillaume de Lorris ends abruptly. 

Bel Acueil imprisoned in the castle, Roman de la Rose, France (Paris) 1320-1340, Royal MS 19 B XIII, f. 31v

Jean de Meun’s continuation, consisting of some 17,700 lines, takes up the Lover’s quest, but adds long digressions on morality and a variety of topics of contemporary interest such as free will, the influence of heavenly bodies and the increasing power of the friars in medieval society. Examples from history and legend are invoked to instruct the Lover and to illustrate the topics covered. The story of Pygmalion and the statue is included, recalling de Lorris’ reference to the legend of Narcissus.

Paulin Paris, the 19th-century manuscript scholar and French academician, dated de Meun’s composition to before 1285, as in it he refers to Charles of Anjou, who died in that year, as King of Sicily.

Pygmalion and the statue, from Roman de la Rose, France (Paris), c. 1380, Yates Thompson MS 21, f. 136r

The romance ends with the Lover achieving his goal of attaining the Rose, as depicted in this 15th-century manuscript.

The Lover and the Rose, Roman de la Rose, France, 15th century, Additional MS 12042, f. 166r

The contents are summed up in the final couplet:

Explicit le Romaunt de la Rose / Ou lart d’amor est tout enclose.

Here ends the Romance of the Rose, where everything about the art of love is included.

 

Isidore of Seville died on this day in 636. Isidore, who was born in 560, was the bishop of Seville from about 600 to his death. He is better known, however, as an author than as an administrator. His most famous work is the Etymologies, a vast reference work, which functioned as an etymological encyclopaedia. The text was highly influential throughout the Middle Ages. It represents Isidore’s ambitious attempts to condense a huge body of knowledge into a single work.

Hedgehogs feed their young from a Bestiary attached to Isidore of Seville's Etymologies, c 1200-c 1210, Northern or Central England, Royal MS 12 C XIX, f. 8v

As well as containing information on a range of subjects, like mathematics, canon law, philosophy, the human body, geography, ship-building, weights and measures and rhetoric, it also has some excellent (and highly dubious) zoological information. According to Isidore, hedgehogs feed their young by visiting vines, plucking the grapes from the plant and rolling over them in order to impale them on their spines. In the image above we can see the hedgehog doing a sterling impression of a 1970s canapé tray.

Diagrams of the path of the Sun and the phases of the moon; from Isidore of Seville, Etymologies, England, last quarter of the 11th century, Royal MS 6 C I , f. 30r

Given its ambitious scope, many manuscripts of the work contain a complex extra-textual apparatus to help readers navigate the work. You can see an example of this apparatus – in this case a table of contents – in a ninth century copy of the work, below. (This is not the only ninth century copy held by the library: Harley MS 3941 has also been digitised.) It is for this reason that Pope John Paul II nominated Isidore to be the patron saint of the internet. Isidore is the perfect candidate. Like the internet, his Etymologies contains a large body of information which requires a complex searching mechanism to help you find information about medicine or law or just cool stuff about hedgehogs. 

 

Table of contents, Isidore of Seville’s Etymologies, Northern France, 9th century, Harley MS 2686, f. 5r

A particularly striking example of a 'search function' in one copy of the work-- an eleventh-century manuscript (Royal MS 6 C I), probably copied at St Augustine's Abbey in Canterbury-- is the affinity diagrams, laying out the relationships within members of a family. Who exactly is your second cousin twice removed? Fortunately for the reader, a simple chart should sort out the confusion. 'The grandfather of my paternal uncle,' it reads across one line, 'is my propatruus, and I am to him the niece or nephew of his son or daughter'. Relationships are labelled with both the terms for the relative and the term by which he or she would refer to the reader: both grandfather and grandson, both uncle and nephew (or niece!). Just as the world has been diagrammed, so have the intricacies of the family tree.

 

Chart of familial affinities, from Isidore of Seville, Etymologies, England, last quarter of the 11th century, Royal MS 6 C I , f. 78r

The Etymologies is also famous for its sometimes quirky explanations of the history of words. In some cases, when Isidore takes the word apart based on what it sounds like, the explanation that results can be extremely engaging, if not necessarily true. The Latin word for 'beggar' (mendicus) is now believed to derive from an earlier word meaning 'deformity' or 'lack'.  Isidore, however, speculates a much more charming story, of a 'custom among the ancients' to 'close the hungry mouth and extend a hand, as if speaking with the hand' (manu dicere).

Etymologies of words beginning with F and G; from Isidore of Seville, Etymologies, Book 10, England, last quarter of the 11th century, Royal MS 6 C I , f. 82r

In other cases, Isidore’s etymologies, while colourful, are spot-on. The one he gives for the words Fornicarius and Fornicatrix (male and female prostitute) explains that these terms come from the Latin word for 'arch' (fornix), and refers to the architecture of ancient brothels. Prostitutes were understood to lie under such arches while practising their trade. This is the same explanation for the word 'fornicate' offered in the Oxford English Dictionary today!

 

T-O map of the world, with east at the top, from Isidore of Seville, Etymologies, England, last quarter of the 11th century, Royal MS 6 C I , f. 108v

Isidore's work had an immense influence on later medieval thinkers across Europe. For example, Isidore was the first to explain the layout of the continents in what would become the classic medieval schema, the T-O map. The world is round, with Jerusalem its spiritual as well as geographical centre, standing at the convergence between the three known continents of Asia, Europe and Africa.

Opening page from Isidore of Seville, Etymologies, Low Countries (Munsterbilsen), c. 1130-1174, Harley MS 3099, f. 1v

Isidore's influence is also suggested by the number of copies of the Etymologies which survive, from every century of the medieval period, across Europe, copied by diverse scribes. We now have no less than ten manuscripts of Isidore's Etymologies available on our Digitised Manuscripts website. As well as those listed above, you can also see Harley MS 3099, which was, somewhat unusually, copied by eight female scribes (see image above). They were Benedictine nuns in the Abbey of Munsterbilsen near Maastricht (now Belgium), working in the period 1130-1174.

Excerpt from Isidore of Seville, Etymologies, Northern France, late 8th century, Cotton MS Caligula A XV, f. 37r

The earliest digitised copy is Cotton Caligula A XV  which dates from the 2nd half of the 8th century and was made in Northern France. Alongside this, you can see a late 11th-century version (Royal MS 6 C I), an early 12th-century copy (Harley MS 2660), made in the Rhineland , a mid 13th-century copy, Harley MS 6  and our youngest digitised manuscript, which is a mere five centuries old Harley MS 3035.

- Nicole Eddy, updated by Mary Wellesley

For more information about the Bedford Hours, please see our post for January 2016; for more on medieval calendars in general, our original calendar post is an excellent guide.

Calendar page for April from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 4r

Spring is well underway in the Bedford Hours calendar pages for April.

Detail of miniatures of a man gathering leaves and the zodiac sign Taurus, from the calendar page for April, Add MS 18850, f. 4r

At the bottom of the first folio is the standard (for this manuscript) two-part miniature.  On the left, a man is carrying a leafy young tree past a flowing river, having presumably just trimmed the branches from the stump before him.  He is well dressed for a labourer, wearing a fur-lined surcoat and carrying a long dagger on his belt.  To his right is a bull for the zodiac sign Taurus, enjoying a lie-down in the sun.

Detail of a marginal roundel of Venus, from the calendar page for April, Add MS 18850, f. 4r

The marginal roundel at the right, however, displays the true central figure for the month of April – Venus, the goddess of love.   The accompanying verses tell us that April was dedicated to Venus by the pagans, because Venus (the planet) is a ‘hot and moist and drenched planet’, much like the month of April. 

Calendar page for April, Add MS 18850, f. 4v

The emphasis on Venus and April continues on the following folio.  Alongside the conclusion of April’s saints’ days are two roundels relating to the goddess.  On the middle left is a scene of the abduction of Proserpina (Persephone) in a cart drawn by two horses.  According to mythology this abduction was ultimately instigated by Venus, who envied the young girl’s beauty and ordered her son, Eros, to loose his arrows so that all would be smitten with love for her, leading ultimately to Proserpina being carried down into the depths of Hades.

Detail of marginal roundels of the abduction of Proserpina and a flower festival, from the calendar page for April, Add MS 18850, f. 4v

The bottom roundel shows a more genial scene, illustrating, as the rubrics tell us, ‘how in April the pagans had a festival for the goddess of flowers.’

-  Sarah J Biggs

It’s that time of the year when lambs frolic in the fields, British summertime begins, and people play practical jokes on their friends. Of course, the British Library’s Medieval Manuscripts team has never succumbed to the temptation of perpetrating an April Fool. All of our stories published on this most auspicious day have been 100% genuine like, um, the discovery of the unicorn cookbook, the one about the Loch Ness Monster, and the time we spotted a spaceship in a medieval Book of Hours.

    

(Left) Detail of a miniature of a fool, from Bible Historiale, Paris and Clairefontaine, 1411, Royal MS 19 D III, f. 266r (Right) Detail of a miniature with a jester, from Laurent de Premierfait’s translation of Giovanni Boccaccio’s De casibus virorum illustrium (Des cas des ruynes des nobles hommes et femmes), Bruges, c. 1479-80, Royal MS 14 E V, f. 5r

Here are some amusing facts about medieval fools and jesters with which to impress your friends. How many of these did you already know?

1. The origins of the April Fool are lost in the mists of time. It has recently been suggested that the first April Fool’s joke may have been played by Gaston Le Faux (his name translates as ‘the False’), a 13th-century French troubadour. Gaston is reputed to have disguised himself as a fish and hidden under a platter at a banquet, in order to impress the ladies. The reaction of the onlookers is undocumented, as is Gaston’s own fate, but to this day the French still cry “poisson” whenever they play a practical joke on April Fool’s Day.

2. Modern stereotypes about medieval 'fools’ and ‘jesters’ are often derived from playwrights and novelists such as William Shakespeare and Victor Hugo (who notably imagined the ‘Feast of Fools’ in his Hunchback of Notre Dame).

Kenneth Wicksteed as Touchstone in Shakespeare's As You Like It (Stratford-upon-Avon, 1932)

3. The medieval entertainers we know as ‘jesters’ were mostly storytellers, minstrels and musicians. Chaucer mentions ‘All manner of minstrales, And jestours, that tellen tales’ in his House of Fame.

   

(Left) Detail of a juggler representing the third musical mode, from Gradual of Saint-Etienne of Toulouse, c. 1075-1125, Harley MS 4951, f. 298v (Right) Detail of a musician representing the second musical mode, Harley MS 4951, f. 297v.

4. In medieval Denmark, people often dressed as trees and bushes to ward off madmen and evil spirits on April Fool's Day.

5. Depictions of fools are often found in illustrated Psalters, inspired by the story of King David and the fool. This tale appears in the first Old Testament book of Samuel and describes the mistakes of the ‘foolish’ rich man Nabal, who refused to give provisions to David and his men, and was later struck down by the Lord for his folly.

Detail of the historiated initial 'D'with David and a fool at the beginning of Psalm 52, from the Rutland Psalter, London?, c. 1250, Add MS 62925, f. 56r

6. Not everybody likes April Fool jokes. In 1569, the Archbishop of Prague preached a sermon at St Vitus Cathedral, denouncing clowns and other pranksters as 'weasels, vipers, and worse than moles'. He was subsequently pelted by his congregation with tomatoes and rotten food, before being escorted back to his palace by the bodyguard of the King of Bohemia.

A star-nosed mole, the unintentional target of the Archbishop of Prague's vitriol

7. The most famous early modern image of a fool is found in the Psalter of Henry VIII at the British Library, at the beginning of Psalm 52. This shows King Henry himself, styled as King David, and his fool, Will Sommers, as Nabal.

 

Miniature of David and the Fool, from the Psalter of Henry VIII, England (London), c. 1540-1541, Royal MS 2 A XVI, f. 63v

No doubt, Will Sommers and other jesters and fools would be smiling proudly at all the tricks played throughout the world today.

Historiated initial with a fool, from the Great Bible, London, c. 1400-25, Royal MS 1 E IX, f. 148r

Detail of the historiated initial 'D'(ixit) with David and a fool at the beginning of Psalm 52, from the Howard Psalter, East Anglia, c. 1308-40, Arundel MS 83 , f. 40v 

Drawing of a pig playing bagpipes, a jester showing his genitals, a man blowing a flute or pipe, and various hybrid creatures, from Pseudo-Aristotle, De caelo, De anima, England, 1487, Sloane MS 748, f. 82v 

~ The Medieval Manuscripts Team