Miniature of Abner visiting King David; miniature of the Adoration of the Magi; the miniature of the Queen of Sheba presenting gifts to Solomon, Northern Netherlands (The Hague?), c 1395-1400, Kings MS 5, f. 3r

 

The Biblia pauperum, or 'Paupers' Bible' is a continuation of the tradition of picture Bibles, related to the earlier Bible moralisée (see Harley MS 1526 and Harley MS 1527 for examples).  Images, rather than text, are the focus of the Biblia pauperum, and follow a fairly standard layout. At the centre is usually a scene from the New Testament, flanked on either side by an Old Testament scene related to it by typology.  Typology was a brand of Biblical exegesis which was extremely popular in the medieval era, and centered on the belief that people and events in the Old Testament could be viewed as prefiguring or anticipating aspects of the life of Christ.  A common 'type' depicted in this period, for example, was that of Jonah; the three days and nights that Jonah spent in the belly of the whale were believed to prefigure Christ’s burial in the tomb prior to his resurrection (see below).

 

Miniature of Joseph's brothers deceiving Jacob about what happened to Joseph; miniature of the Deposition of Christ in the tomb; miniature of Jonah being thrown into the sea, Northern Netherlands (The Hague?), c 1395-1400, Kings MS 5, f. 19r

 

In the 15th century affordable versions of this text were created, printed and decorated with woodcuts; these were likely used by clergymen to instruct their largely illiterate congregations.  Despite the name, though, most early medieval Biblia pauperum were lavish and expensive productions, well beyond the reach of all but the most wealthy. 

 

Miniature of David beheading Goliath with a sword; miniature of Christ's descend into Limbo (the Anastasis); miniature of Samson killing the lion, Northern Netherlands (The Hague?), c 1395-1400, Kings MS 5, f. 21r

 

Kings MS 5, a recent upload to the Digitised Manuscripts site, is one such manuscript.  Also known as the 'Golden Pauper's Bible', it was produced in the last years of the 14th century, probably in the court of Margaret of Cleves (c 1375-1411).  Margaret was the second wife of Albrecht I, Duke of Bavaria and Count of Holland, and their court in The Hague became a centre for art and scholarship. Kings MS 5 contains 31 scenes from the life of Christ, each accompanied by two Old Testament prefigurations and portraits of apostles and prophets.  Originally each long leaf was folded into three parts, separating the miniatures, so that the manuscript would have looked much like a normal codex, but it was later rebound into its present oblong arrangement.  Kings MS 5 is the only known surviving manuscript in this format, and is also unusual in having fully-painted miniatures rather than pen and wash illustrations.

 

Miniature of the Judgement of Solomon; miniature of the Last Judgement; miniature of David's order to kill the Amalekite, Northern Netherlands (The Hague?), c 1395-1400, Kings MS 5, f. 29r

 

The fully digitized manuscript is available here, and don’t forget to follow us on Twitter: @blmedieval.

It would be impossible to overstate the cultural significance of Dante’s Divina Commedia (the Divine Comedy), so we won’t even try; suffice it to say that the work has had a profound influence on subsequent authors, painters, sculptors, poets, and filmmakers – even modern graffiti artists and video-game designers. The poem tells the story of Dante’s travels through the three realms of the dead: Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise).  He is guided through Hell and Purgatory by the Roman poet Virgil, while Beatrice – Dante’s ideal of womanhood – escorts him into Paradise.

 

Historiated initial ‘N’(el) of Dante and Virgil in a dark wood, with four half-length figures representing Justice, Power, Peace, and Temperance, with the arms of Alfonso V below, at the beginning of the Divina Comedia, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 1r

 

One of our most recent uploads to the Digitised Manuscripts site is an excellent example of the medieval interpretation of the Comedia.  This manuscript, Yates Thompson MS 36, was produced 1444-c. 1450 in Tuscany, probably in the city of Siena, although the identity of the original patron is still unclear.  Some scholars have argued that it was made for Alfonso V, the king of Aragon, Naples, and Sicily (r. 1416-1458) who was known to have owned the manuscript in the later years of his life.  It was certainly a lavish production, and must have been an expensive undertaking.  The manuscript includes more than 110 miniatures created by two of the preeminent artists of the day; Priamo della Quercia painted the illuminations for the Inferno and Purgatorio, while Giovanni di Paolo produced those in the Paradiso. 

Below are a number of miniatures from throughout the manuscript; please see here for the fully digitised version.

 

Detail of a miniature of Dante being rowed by Charon across the River Acheron, from the closing lines of Canto III in the Inferno, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 6r

 

Detail of a miniature of Virgil addressing the carnal sinners Paolo and Francesca, as Dante swoons in horror, in illustration of Canto V in the Inferno, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 10r

 

Detail of a miniature of Dante and Virgil looking into the tomb of Pope Anastasius, and the three tiers of the violent, suicides, and other malefactors, in illustration of Canto XI in the Inferno, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 20r

 

Detail of a miniature of Dante and Virgil witnessing Vanno Fucci, the pillager of a church in Pistoia, being attacked by the monster Cacus, who is half-centaur and half-dragon, and Dante and Virgil speaking to three other souls, tormented by snakes and lizards, in illustration of Canto XXV in the Inferno, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 46r

 

Detail of a miniature of Dante and Virgil witnessing the gigantic figure of Dis, with his three mouths biting on the sinners Cassius, Judas, and Brutus, and Dante and Virgil emerging from the Inferno, in illustration of Canto XXXIV in the Inferno, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 62v

 

Detail of a miniature of Dante speaking to two of the Slothful, while Virgil observes the two Slothful, and the Siren, illustrating Canto XVIII/XIX of Dante's Purgatorio, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 98v

 

Detail of a miniature of Dante and Virgil with others in the heavenly Procession, from the Paradiso, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 119r

 

Detail of a miniature of Beatrice explaining to Dante that the universe is a hierarchy of being, with creatures devoid of reason in the early 'sea of being', and heaven as nine spheres rules by the figure of love, from the Paradiso, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 130r

 

Detail of a miniature of the Resurrection of the dead, from the Paradiso, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 154r

 

Detail of a miniature of Dante and Beatrice before the eagle of Justice, from the Paradiso, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 162r

 

Detail of a miniature of Dante and Beatrice before the Virgin and Child, who are seated within the Celestial Rose, surrounded by various saints, from the Paradiso, Italy (Tuscany, Siena?), 1444-c. 1450, Yates Thompson MS 36, f. 187r

 

Don't forget to follow us on Twitter: @blmedieval.

- Sarah J Biggs

  Detail of the opening words of Beowulf, beginning 'Hwæt' ('Listen!), from Beowulf, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 132r.

 

We recently announced – to great fanfare and excitement – the digitisation of the Beowulf manuscript; the famous Cotton MS Vitellius A XV can be viewed online in its entirety here. 

Although the manuscript has gone by a number of names over the course of its long history, it is most frequently referred to as the Beowulf manuscript in reference to the renowned poem, beloved of Anglo-Saxonists and English students alike.  But Cotton MS Vitellius A XV is in fact a composite codex, made up of a number of different parts, many in Old English.  Paleographical and codicological evidence suggests that these seemingly disparate bits were intended as part of a coherent whole, with a single scribe writing the bulk of the material.  Besides Beowulf, the manuscript includes some texts from St Augustine, The Homily on St Christopher (now incomplete), the Letter of Alexander to Aristotle, the poem Judith, and a number of others as well as the subject of today’s post, The Marvels of the East.

 

Detail of a miniature of gold-digging ants in the land of Gorgoneus, from the Marvels of the East, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 101r

 

The Marvels of the East (sometimes called The Wonders of the East) is a unique and fascinating text which first appeared in the 4th or 5th century.  It is a composite work of long and complicated pedigree, although scholars have been able to track down a number of its sources.  These include the works of Isidore of Seville, St Augustine, Virgil and Pliny, and other texts of ultimately classical origin.

 

Detail of miniatures of two-headed snakes and deadly horned donkeys, from the Marvels of the East, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 99v

 

Copies of the Marvels were apparently produced throughout Europe, but only three survive, all of Anglo-Saxon origin.  The British Library’s version from the Beowulf manuscript is the oldest, dating from c. 1000; the other two are British Library Cotton MS Tiberius B V (first half of the 11th century) and Bodleian Library, Oxford, MS Bodley 614, c. 1120-1140.   All three copies of the Marvels were bound in miscellanies, and all three contain painted or drawn miniatures.  Secular subjects such as these were very rarely illustrated in Anglo-Saxon texts, so the existence of three such copies of the Marvels is no doubt significant.

 

Miniatures of sheep and rams in the land of Antimolima, from the Marvels of the East, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 98v

 

The text of the Marvels begins without preface or explanation, with a description of an area near Babylon, called Antimolima; we are told of this place that ‘there are rams born there as big as oxen.’*  This opening section is typical of the Marvels.  There is no consistent geographical setting to the wonders described therein; the text jumps from marvels in Africa to those in Asia and back again, suggesting that the author’s interest is the strangeness of these creatures themselves, rather than their surroundings.  A series of disconnected descriptions takes the place of any narrative in the Marvels.  They are short and basic, generally consisting of four pieces of information: the name of the marvel or monstrous race, where it can be found, what it looks like, and finally, what it eats. 

 

Detail of a miniature of the long-eared panotii, from the Marvels of the East, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 104r

Belief in the existence of monstrous races of human beings was central to medieval thinking, although almost everything about them was open to debate and discussion.  The only characteristic universally agreed upon was that they were always to be found far away, beyond the borders of the world as it was then known.  Almost as common were references to the physical deformities of the monstrous races: there were gigantic races and tiny races, those with extremities misshapen, missing, enlarged, or multiplied, and every variety of human/animal hybrid.  The Marvels provides us with a number of these creatures, many of which are unnamed.  One such is the race that would later be called the panotii (see above), best known for having large ‘ears like fans’, which they were said to wrap themselves in at night to keep warm. The panotii were so timid that they would flee immediately upon seeing a stranger, ‘so swiftly one might think that they flew.’

 

Detail of a miniature of a blemmya, from the Marvels of the East, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 102v

The blemmyae are another monstrous race left unnamed by the author of the Marvels of the East (see above).  We are told that ‘on another island, south of the Brixontes…are born men without heads who have their eyes and mouth in their chests.  They are eight feet tall and eight feet wide.’ This short description does little to hint at the later fame of blemmyae; these creatures were extremely popular subjects for later medieval artists.

Physical deformity in monstrous races was of course their most obvious characteristic, and arguably the most visually striking as well.  But other deviations from the European norms of language, dress, social structure, and dietary habits could be just as powerful.  One final example from the Marvels might be useful here.

 

Detail of a miniature of a donestre consuming his victim, from the Marvels of the East, England, 4th quarter of the 10th century, Cotton MS Vitellius A XV, f. 103v

 

This race of people is called the donestre, ‘who have grown like soothsayers from the head to the navel, and the other part is human.’ Donestre, we are told, are capable of speaking every human language, and use this knowledge to ‘beguile’ any strangers that approach them.  Having disarmed the travellers, the donestre then attack and eat their bodies below the neck (see above), ‘and then sit and weep over the head.’

Be sure to check out the rest of the manuscript for further marvels, and remember that the Catalogue of Illuminated Manuscripts is an excellent resource for keyword searching (and now Creative Commons images) - I would particularly recommend having a look for blemmyae there.  As always, please follow us on Twitter @blmedieval.

 

* Translations of The Marvels of the East are taken from the appendix in Andy Orchard’s excellent Pride and Prodigies: Studies in the Monsters of the Beowulf-Manuscript (Toronto: University of Toronto Press, 1995), pp. 184-203.

- Sarah J Biggs

For more details on calendar pages or the Golf Book, please see the post for January 2013.

 

Calendar page for March, from the Golf Book (Book of Hours, Use of Rome), workshop of Simon Bening, Netherlands (Bruges), c. 1540, Additional MS 24098, f. 20v

 

The full-page miniature at the opening of the calendar pages for March (above) shows the labours associated with the beginning of the agricultural season.  In the foreground, a man pauses from clearing a garden to tip his hat to two richly-dressed ladies, one of whom is carrying a small dog.  Outside of the garden, men are at work trimming vines, while a horseman crosses a moat into a small town in the background.  In the bas-de-page, a group of men are playing with rattles in what appears to be a far more wintry landscape than that above.  On the following folio (below) are the saints' days for March, along with a roundel containing a small ram, for the zodiac sign Aries.  At the bottom of the page a man is ploughing behind a team of horses, while another man on the right (partially trimmed away) is clearing the field of branches.

 

Calendar page for March, from the Golf Book (Book of Hours, Use of Rome), workshop of Simon Bening, Netherlands (Bruges), c. 1540, Additional MS 24098, f. 21r

In all the hullabaloo about our most recent upload to Digitised Manuscripts, you may have missed the news that the sumptuous Harley Golden Gospels (Harley MS 2788) is now available online. This early-9th-century gospelbook is written entirely in gold ink (not real gold, alas), and each text-page is enclosed in a frame of gold, silver and other colours, often with interlace or animal patterns.

Miniature of St John in the Harley Golden Gospels, Germany (Aachen?), 1st quarter of the 9th century: London, British Library, MS Harley 2788, f. 161v.

The Harley Golden Gospels has often been associated with the court of Charles the Great (Charlemagne), who died in 814. Certainly, it would have required a wealthy patron to have provided for its production. There is an elaborate title-page (f. 12v), and full-page miniatures of each of the evangelists (Matthew, f. 13v; Mark, f. 71v; Luke, f. 108v; John, f. 161v), each facing an incipit page. It's no exaggeration to state that, for many of our curators, this is their favourite item in all of the British Library's collections. We hope that you enjoy looking at it too! What's your favourite page?

A page from the canon tables in the Harley Golden Gospels, Germany (Aachen?), 1st quarter of the 9th century: London, British Library, MS Harley 2788, f. 11v.

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A typical text-page in the Harley Golden Gospels, Germany (Aachen?), 1st quarter of the 9th century: London, British Library, MS Harley 2788, f. 197v.

Detail of a miniature of King Vortigern consulting his magicians while (in the background) construction moves forward on a castle with subsidence problems; from Jean de Wavrin, Recueil des croniques d'Engleterre, vol. 1, the Netherlands (Bruges), 1471-1483, Royal MS 15 E. IV, f. 93r

If you hear a knock at your door and open it to find a man in a tall pointy hat and a flowing white beard, 'Aha!' you might say, 'A wizard!'  From Gandalf to Dumbledore, fashion-conscious wizards take their cues from the style icon who embodies the must-have look for necromancers this (and every) season: Merlin.  Nor would the pointy hat have been unfamiliar to medieval audiences as a sign of the wearer's occult power.  Above, the British King Vortigern consults his magicians – mystical headgear clearly in evidence – about a little construction problem he is having.

Detail of a miniature of the young Merlin and his mother coming to appear before King Vortigern; from Wace, Roman de Brut (a verse epitome), England, 2nd quarter of the 14th century, Egerton MS 3028, f. 24r

It is one of the most frequently told stories about Merlin: King Vortigern was building a castle, but the structure kept falling down.  When he asked his court astrologers for advice, they offered a grim solution.  The king should mix the castle's mortar with human blood, taken from a boy with no father.  It is at this point that Merlin enters the story.  Despite our expectations of an elderly sage, in medieval texts, Merlin is equally likely to appear in a far different guise.  Merlin himself is the boy with no father, or at least no human father.  He was conceived when his virtuous mother was visited by a devil: the embodiment of supernatural, even diabolical power employed for good.

Merlin had a role in another famous construction project as well: the building of Stonehenge, or rather, its transportation from Ireland to Salisbury Plain; detail of a miniature of Merlin, here visually identified with the giants who were said to have originally erected the monument, disassembling the stone circle for transport; from Wace, Roman de Brut (a verse epitome), England, 2nd quarter of the 14th century, Egerton MS 3028, f. 30r

Merlin was brought before Vortigern for his value as building materials, but he soon proved his worth as a magician of greater skill than the older astrologers.  The boy explained that the castle was built above two wrestling dragons, one white and one red.  These creatures represented the Britons and the invading Saxons, whose conflict would eventually bring down Vortigern's rule.   Workers dug beneath the castle's foundations, releasing the dragons, and construction moved forward.

Geoffrey of Monmouth attributed many propehcies to Merlin, with many allegorical beasts, of which the red and white dragons are only the most famous; that the initial 'S'(edente) here takes the form of a dragon is perhaps a deliberate allusion; from Geoffrey of Monmouth, Prophecies of Merlin, England (London), 1490, Arundel MS 66, f. 267r

This is a tale of Merlin's youth, an origin story about his first big success.  But Merlin often adopted a boyish appearance, even in stories about King Arthur, two generations after Vortigern.  Arthur's knights would encounter unlikely, unreliable-seeming people (young boys, elderly beggars) with wild predictions about future events, which they believed only on recognizing Merlin in disguise.

Detail of a miniature of Merlin, disguised as a young boy, appearing before King Arthur and his barons; from L'Estoire de Merlin, France (Saint-Omer or Tournai), c. 1316, Add. MS 10292, f. 200v

In some stories, Merlin was even a strong warrior.  In his 'Life of Merlin', Geoffrey of Monmouth described the magician as a powerful king who, disenchanted with the horror of war, gave up his kingdom and fled into the forest to play his lyre and alarm people with his uncanny predictions.  Merlin's resentful sister, queen of a neighbouring kingdom, sought to discredit her brother.  She asked Merlin to foretell the deaths of three people.  Merlin predicted a fall, a hanging, and a drowning.  The trick was that all three were in fact the same boy, in disguise.  Merlin was proven correct, however, when the young man died in a freak accident, falling off a cliff, catching his foot in a tree on the way down, and hanging there to drown with his head in the river below.  Merlin, a chameleon himself, could see through another's disguise, and his prophecies were always reliable.

The robed and bearded figure in this image is not the wizard at all, but the clerical scribe Blaise, taking dictation from Merlin (shown here as a handsome young man) as the magician relates his adventures; from L'Estoire de Merlin, France (Saint-Omer or Tournai), c. 1316, Add. MS 10292, f. 163v

Nicole Eddy

Initial 'Q'(ui) of St Thomas Becket, wearing the mitre of his rank as Archbishop, defrocking a priest for only knowing how to sing one form of the mass; the rubric below reads 'sein tomas le erceveske le suspendi' ('St Thomas the Archbishop suspended him'); from the De Brailes Hours, England (Oxford), c. 1240, Add. MS 49999, f. 45v.

Books of Hours, a common type of manuscript in the late Middle Ages, contain the cycle of Psalms and other prayers that would be recited for the monastic hours, at set times during the day.  They are tools for meditation, as well as for the recitation of the liturgy, and are often gloriously illustrated.  While the prayers in these manuscripts are not narrative, the pictures sometimes can be, and the stories that they tell can create a second 'text', a visible spur to pious contemplation layered alongside the aural experience of listening to the service.

Detail of an initial 'C'(once) of William de Brailes receiving a blessing from God; from the De Brailes Hours, England (Oxford), c. 1240, Add. MS 49999, f. 43r.

The De Brailes Hours (now fully available online!) is a very early example of a Book of Hours, and already shows some of the important characteristics of the form.  It is a small manuscript, only about the size of an open hand, a jewel sized for close examination and portability.  And its appearance is dominated by its many historiated initials on religious subjects.  The artist of these pictures is known, and has actually provided his idealized portrait.  Alongside the picture of a cleric at prayer, receiving a blessing from the hand of God reaching down from heaven, a small rubric in red ink (here partly obscured by the edge of the facing page) labels it as 'W de brailes qui me depeint' ('W[illiam] de Brailes who painted me').

Detail of a miniature of the martyrdom of St Thomas Becket, killed by Henry II's men-at-arms; the image is marred by a large X crossing it out, no doubt made after the Reformation, when it became politically dangerous to revere Becket as a symbol of ecclesiastical resistance to royal authority; from the Luttrell Psalter, England (Lincoln), 1325-1335, Add. MS 42130, f. 52r.

The Hours of the Virgin – the section of the manuscript with prayers specifically dedicated to honouring Mary – includes, near the end, images of Miracles of the Virgin, colourful tales about Mary's intervention on behalf of sinners.  One such story features a perhaps unlikely villain: St Thomas Becket, the Archbishop of Canterbury murdered on the orders of King Henry II.  In later years, Becket became a problematic figure.  The struggle between secular and ecclesiastical power encapsulated in his story made him a particular target for Henry VIII after the king broke with the Catholic church.  But in the Middle Ages, Becket was a very popular saint, and his tomb at Canterbury was an important shrine (as well as the destination for Geoffrey Chaucer and his fictional travelling companions).

Detail of an initial 'N'(isi) of the Virgin Mary giving St Thomas a hair shirt to wear; the rubric above reads 'nr dame vest un here a sceint tomas' ('Our Lady puts a hair shirt on St Thomas'); from the De Brailes Hours, England (Oxford), c. 1240, Add. MS 49999, f. 49r.

Here, however, Becket represents an ecclesiastical hierarchy at odds with a devout but unlettered piety.  There once was a priest, the story goes, who only knew one version of the mass, dedicated to Mary.  The Archbishop disapproved of such incompetence and ordered him defrocked, refusing to relent even when his unfortunate subordinate begged for mercy.  Finally, the priest prayed to his patroness.  Mary appeared to Becket, ordering him to wear a hair shirt under his clothes as a private penance.  Then she revealed her secret command to the priest, instructing him to take his knowledge to Becket as a sign of her favour – how could the priest know of the shirt if the Virgin herself had not told him?  In the end, we see a reversal of roles, with Becket, rather than the priest, the one begging forgiveness, as he reinstates his pious underling.  Even a saint sometimes goes astray!

Initial 'Q'(ui) of St Thomas begging for mercy after reinstating the priest, while the hand of God offers blessing; the rubric above reads 'scein tomas lu crie merci e le relest' ('St Thomas cries mercy of him and [he] forgives him'), inverting earlier images (not shown) of the priest kneeling before Thomas, with a rubric 'ne poet aver reles' ('He cannot have forgiveness'); from the De Brailes Hours, England (Oxford), c. 1240, Add. MS 49999, f. 55v.

Nicole Eddy

Detail of a miniature of the allegorical personifications of Friendly Expression and Courteous Manner, catching flighty hearts in their net; from Pierre Sala, Petit Livre d'Amour, France (Paris and Lyon), c. 1500, Stowe MS 955, f. 13r

Once you've picked out a Valentine's Day gift for your sweetheart, why not give yourself a Valentine's present, with a closer look at the Petit Livre d'Amour ('Little Book of Love')?  Over the weekend, we announced the availability of six new manuscripts as full digital reproductions on the Digitised Manuscripts website.  Among them, the Petit Livre d'Amour is an appropriate Valentine's Day celebration, having been a gift between lovers, from the author Pierre Sala (b. 1457, d. 1529) to his mistress Marguerite Builloud.

The manuscript's original, custom-made case, made of wood covered in leather; from Pierre Sala, Petit Livre d'Amour, France (Paris and Lyon), c. 1500, Stowe MS 955

References to the relationship between Pierre and Marguerite are all over the book.  The initials M and P appear often in decorative borders, and are even carved into the intricate patterns adorning the book's carrying case.  The small volume could be slipped inside this protective box for Marguerite to carry it with her.  The rings on the side of the box attached to chains, by which she could suspend it from her girdle.

Detail of a miniature of Pierre Sala dropping his heart into a daisy; from Pierre Sala, Petit Livre d'Amour, France (Paris and Lyon), c. 1500, Stowe MS 955, f. 6r

Inside, diminutive illustrations, filling the book's small pages, transform the object into a sumptuous jewel, while also illustrating the love between author and reader.  In one particularly striking picture, a man – representing Pierre Sala himself – drops his heart into the cup of a large, red-and-white flower.  The flower is a daisy, a 'marguerite' in French, and so an allegorical representation of Pierre's beloved.  Close inspection of Pierre's face in this miniature reveals hints of a plan for the picture that was never fully realized.  The man's face is unfinished, showing only the rough sketch of facial features to be added later.  The illuminator left the face blank so that another artist – most likely Jean Perréal, a friend of Pierre's – could complete the allegory with a likeness of Pierre himself.  We can imagine how this would have looked by referring to the larger, full-page portrait of Pierre that Perréal did provide, at the end of the volume.  What do you think – a candidate for most eligible bachelor, c. 1500?

Sorry, ladies -- he's taken!  Detail of a portrait of Pierre Sala, made by his friend Jean Perréal; from Pierre Sala, Petit Livre d'Amour, France (Paris and Lyon), c. 1500, Stowe MS 955, f. 17r

Across from each of the manuscript's miniatures is a brief love poem in French, of Pierre's own composition.  These poems participate in a lyric tradition lamenting love's hardships and uncertainties.  On the page facing the image of two women capturing winged hearts with a net (shown at the top of the post), we read a brief verse about fickle, flighty hearts: 'Friendly Expression and Courteous Manner' (two personification allegories) 'have stretched out their snares at the corner of the wood, until the best time for an unstable, flying heart to pass by there'.  The word 'heart' in the middle of the last line is not written out, but indicated with a little drawing.

A verse on flighty hearts: 'chiere amyable & cortoyse maniere / au coing du boys ont tendu leur pantiere / en atendant leure plus atreable / que par la passe <3 vollant peu estable'; from Pierre Sala, Petit Livre d'Amour, France (Paris and Lyon), c. 1500, Stowe MS 955, f. 12v

Other poems direct their critique, if still obscurely, toward the lover himself: 'I have no support but this branch, nor hope of having any other help, but by folly, I cut it, and so will fall under the water'.  These sweet words – and their elegant package – must have pleased Marguerite; their relationship prospered, and she and Pierre eventually married.

Disaster in 3...2...1...: detail of a miniature of a man cutting off the branch on which he is standing; from Pierre Sala, Petit Livre d'Amour, France (Paris and Lyon), c. 1500, Stowe MS 955, f. 15r

Nicole Eddy