21 November 2015
New to the Treasures Gallery
As frequent visitors to the British Library will know, we regularly make changes to the items displayed to the public in the Sir John Ritblat Gallery, also known as our Treasures Gallery. We are pleased to announce that the Ancient, Medieval and Early Modern Manuscripts section has placed a number of new manuscripts on display. Most of these manuscripts are fully digitised and can be found online at Digitised Manuscripts, so if you’re not able to make it to the Gallery here in London, there’ s no need for you to miss out!
Painting of Mont Saint Michel burning, from 'Li Romanz du Mont Saint-Michel', France (Normandy), 1375-1400, Add MS 10289, f. 45v
The ‘Literature’ section sees the addition of Add MS 10289, 'Li Romanz du Mont Saint-Michel' (the Romance of Mont Saint-Michel), a late 13th century miscellany of romances, moralistic and religious texts, and medical recipes written in Anglo-Norman. The folio displayed shows the burning of the monastery in the year 922; much more about this fabulous manuscript can be found in our post The Romance of Mont Saint-Michel.
Miniature of Geoffrey Chaucer, from Thomas Hoccleve’s Regiment of Princes, England (London or Westminster), c. 1411 – c. 1420, Harley MS 4866, f. 88r
Also in this section is one of the earliest copies of Thomas Hoccleve’s The Regiment of Princes, which was created c. 1411 – c. 1420, possibly under the supervision of Hoccleve himself. This manuscript (Harley MS 4866) includes the famous portrait of Geoffrey Chaucer, holding a rosary and wearing a pen-case on a string around his neck
Miniature of Homer in a landscape listening to his Muse, from a copy of Homer’s Iliad, Italy (Florence), 1466, Harley MS 5600, f. 15v
Three manuscripts featuring the works of classical authors have been added to the ‘Art of the Book’ section. A 15th century Greek manuscript, copied in Florence in 1466 by Ioannes Rhosos of Crete, contains a gorgeous miniature of Homer surrounded by Muses, in a typical Florentine style (Harley MS 5600). This Homer is joined by the works of two more Roman authors who were also hugely popular in Renaissance Italy: a late 15th century copy of the works of Cicero (Burney MS 157), and a Virgil copied in Rome between 1483 and 1485 (Kings MS 24).
Drawing of a ‘stout woman’ from a notebook by Albrecht Dürer, Germany, c. 1500, Add MS 5231, f. 5r
Manuscripts in another section contain material from two of the great artists of the Renaissance: Albrecht Dürer and Michaelangelo. Dürer’s interest in anatomy are reflected in four sketchbooks now owned by the British Library, one of which includes a sketch of a ‘stout woman’ accompanied by detailed notes on how to correctly construct a human figure (Add MS 5231). Alongside Dürer’s volume is one composed of a series of letters exchanged by Michaelangelo Buonarroti and his family. On display is a letter Michaelangelo wrote to his nephew from Rome in 1550, offering some genial advice on the best way to select a wife (Add MS 23142).
Text page with musical neumes, Spain (Silos), c. 1050, Add MS 30845, f. 13r
We have also updated the ‘Early Music’ section with two of our best-known musical manuscripts. Dating from c. 1050, Add MS 30845 is a liturgical manuscript with musical notation, created in the monastery of Santo Domingo de Silos in northern Spain. This notation consists of graphic signs that indicate the direction of the melody; as the pitch is lacking, however, the original melody is now impossible to recover. Accompanying the Silos manuscript is one containing perhaps the most famous piece of English secular medieval music, ‘Sumer is Icumen in’, which is known only from this manuscript.
Page with ‘Sumer is Icumen in’, from a miscellany, England (Reading Abbey), c. 1260, Harley MS 978, f. 11v
If you’re interested in more information on this wonderful piece of music (from Harley MS 978), please see our post Sumer is Icumen In. And whether your visit is in person here in St Pancras, or virtual amongst our digitised manuscripts, we hope you enjoy yourselves!
- Sarah J Biggs
19 November 2015
Anglo-Saxon Digitisation Project Now Underway
The British Library possesses the largest collection of Anglo-Saxon manuscripts in the world. Many of these manuscripts are already available via our Digitised Manuscripts website, and we are delighted to announce that dozens more will be added in the coming months as part of a new digitisation project. These manuscripts will include the B, D, and F versions of the Anglo-Saxon Chronicle, manuscripts with early musical notation, Archbishop Wulfstan’s letter book, laws, saints’ lives, early manuscripts of Ælfric’s writings, charms, and medical recipes. This digitisation has been generously funded by a donation made in memory of Melvin R Seiden.
Zoomorphic pen-drawn initial from the beginning of a book in an Old English translation and compilation of Orosius, from the Tollemache Orosius, Add MS 47967, f. 48v
The first five manuscripts have gone already gone online. These include the earliest copy of the Old English version of Orosius’s Historia adversus paganos, an early eleventh-century schoolbook, and two manuscripts associated with Bishop Leofric of Exeter. So click over to Digitised Manuscripts for images of fantastical creatures in interlace initials, an imaginary dialogue between a monk, a cook, and a baker, and early musical notation!
Zoomorphic initial ‘H’ at the beginning of a text, Harley MS 110, f. 3r
Add MS 28188: Pontifical with litanies and benedictional (imperfect), England (Exeter), 3rd quarter of the 11th century
Add MS 32246: Fragment of Excerptiones de Prisciano with the 'Elegy of Herbert and Wulfgar', glossaries, and Ælfric's Colloquy, England (Berkshire?), 1st half of the 11th century
Add MS 47967: Orosius, Historia adversus paganos ('The Old English Orosius' or 'The Tollemache Orosius' ), England (Winchester), 900-1000
Harley MS 110: Glossed copy of Prosper, Epigrammata ex sententiis S. Augustini, Versus ad coniugem, Isidore, Synonyma de lamentatione animae peccatricis; two leaves from a gradual, England, 975-1060
Harley MS 2961: Leofric Collectar, England (Exeter Cathedral), 1050-1072
Text page with musical neumes, from the Leofric Collectar, Harley MS 2961, f. 10r
Additionally, as this project continues, some manuscripts may be unavailable as they are being digitised. Readers intending to consult Anglo-Saxon manuscripts that have not already been made available on Digitised Manuscripts should therefore please contact the British Library's Manuscripts Reference Team ([email protected]) before planning a visit.
Detail of a text page with a sheep drawn around a hole in the parchment, from the Tollemache Orosius, Add MS 47967, f. 62v
- Alison Hudson, Project Curator, Anglo-Saxon Manuscripts
01 November 2015
A Calendar Page for November 2015
To find out more about the London Rothschild Hours, take a look at our post A Calendar Page for January 2015.
Calendar page for November, with decorative border comprising a Zodiac sign, roundels, and bas-de-page scene, from the London Rothschild Hours, Southern Netherlands (?Ghent), c. 1500, Add MS 35313, f. 6v
In November, the threshing and winnowing is taking place: in the background, a male figure wields a flail, beating wheat to separate the grains from the husks. Two peasants in the foreground are beating flax to break down the stem fibres, while a woman to the right in the background is using a stick known as a 'swingle' to 'scutch' or dress the flax. A woman is pouring swill out for the pigs, while doves and pigeons gather in the dovecote and on the thatched roofs of the barns waiting to feed on any loose grains. This month, marked by the Zodiac symbol of the centaur for Sagittarius, saw the celebration of several important festivals in the Christian calendar, each illustrated in the roundels to the left: All Souls’ Day, the Commemoration of Souls in Purgatory, St Martin of Tours (shown mounted on a horse, cleaving his cloak in two and giving half to a beggar), and the deaths of St Clement, Pope and Martyr (shown being thrown into the Black Sea with an anchor tied around his neck, as punishment for converting local pagans), St Catherine (shown being beheaded, her wheel in the background) and St Andrew (shown being crucified on the saltire).
Detail of a bas-de-page scene of peasants beating flax, threshing wheat and feeding pigs, Add MS 35313, f. 6v
Detail of a roundel depicting the martyrdom of St Clement, Add MS 35313, f. 6v
- James Freeman
14 October 2015
The Unicorn Lives On
On 20 September of this year our eagle-eyed friend and former colleague Dr Alixe Bovey drew our attention to that day’s edition of The Sunday Times. In that issue was an article about the latest work by the artist Sir Peter Blake, who is perhaps best known for designing the iconic album cover for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. Sir Peter had created a mural to celebrate the 800th anniversary of the Lord Mayor’s Parade, compiling dozens of images to capture the spirit of the parade across the centuries.
In the earliest years of the parade can be found the familiar figure of our ‘unicorn lady’; can you spot her amongst the crowds? She first made an appearance on 1 April 2012 in our post Unicorn Cookbook Found at the British Library, and now you can see her between the years 1315-1415 and 1514-1515 (click the above image for a larger version). It is a testament to the power of medieval images that they can continue to be reused and remixed today in such interesting ways, and to such astounding effect. We are absolutely thrilled.
Bringing the unicorn to table, from the Unicorn Cookbook
We’ve found a number of other images from British Library manuscripts in Sir Peter’s work, including the dancing nun of the Maastricht Hours (for more on that manuscript, see Monkeying Around with the Maastricht Hours). Please do let us know if you discover any others, either in the comments below or on Twitter @BLMedieval.
- Sarah J Biggs
01 October 2015
A Calendar Page for October 2015
To find out more about the London Rothschild Hours, take a look at our post A Calendar Page for January 2015.
Calendar page for October, with decorative border comprising a Zodiac sign, roundels, and bas-de-page scene, from the London Rothschild Hours, Southern Netherlands (?Ghent), c. 1500, Add MS 35313, f. 6r
A slightly grisly bas-de-page scene greets us this month: an ox is about to meet its end, while two men barter over the sale of another on the other side of the wall. Other peasants are carrying baskets of grapes to a shed in the distance, where we can see them being pressed to make wine. The roundels contain depictions relating to the major religious festivals of October: the feast day of Saints Bavo and Remigius, St Dionysius/Denis (shown holding his own head), St Donatian, St Luke (with a bull, his Evangelist symbol, in the background) and Saints Simon and Jude. As we noted last month, the artist has mistakenly reversed the order of September and October’s Zodiac symbols: Libra (in the form of scales) being shown here at the top of the page instead of Scorpio.
Detail of a bas-de-page scene of men bartering over the sale of an ox, an ox being slaughtered, and grapes being pressed from wine, Add MS 35313, f. 6r
Detail of a roundel depicting St Denis, Add MS 35313, f. 6r
- James Freeman
01 September 2015
A Calendar Page for September 2015
To find out more about the London Rothschild Hours, take a look at our post A Calendar Page for January 2015.
Calendar page for September, with decorative border comprising a Zodiac sign, roundels, and bas-de-page scene, from the London Rothschild Hours, Southern Netherlands (?Ghent), c. 1500, Add MS 35313, f. 5v
A distinctly autumnal feel is creeping into the bas-de-page scene of September’s calendar page. Against a grey backdrop, with trees that are beginning to look a little bare, two peasants are ploughing and resowing a field in preparation for next year. There is a look of concentration on the ploughman’s face as he steers two rather sprightly horses and attempts to cut a straight furrow in the soil. Just above his head is a roundel depicting the Archangel Michael, equipped with sword, shield and crossed spear, vanquishing Satan and his demons. The other roundels on this page show St Giles (accompanied by his emblem, a deer), the Nativity of the Virgin Mary, the Exaltation of the Holy Cross and the Martyrdom of St Matthew the Apostle. The artist has mixed up this and October’s Zodiac symbols, erroneously inserting Scorpio here and Libra on the next page.
Detail of a bas-de-page scene of peasants ploughing and sowing a field, with a roundel depicting Archangel Michael, Add MS 35313, f. 5v
Detail of a roundel depicting St Giles, Add MS 35313, f. 5v
- James Freeman
21 August 2015
When Tristan met Lancelot
Who was the best knight ever to wield lance or sword? Was it Lancelot, whose love for Queen Guinevere spurred him on to no end of daring-do? Was it his son, Galahad, so pure-hearted that he could even be entrusted with the Holy Grail? Or was it perhaps Tristan, a dab-hand on the tournament circuit, but also a masterful musician? These are some of the questions at stake in the Old French prose Tristan, composed before 1235 in northern France. Its authors took their raw material from the 12th-century verse romances of Tristan and Iseult, but they fused it with the cast, setting and indeed much of the narrative of the so-called Lancelot-Grail Cycle. The result was a runaway success. The prose Tristan was transmitted in French across much of medieval Europe, inspiring translations and retellings of the Tristan legend in several other European tongues.
About a quarter of the c. 85 manuscripts of the prose Tristan that survive today were produced in Italy. This list includes Add MS 23929, the first of two volumes discussed here. The first part of this manuscript (ff. 1r-64r) was copied in a regular rotunda script of the late 14th or early 15th century. To judge by the large opening historiated initial depicting the author at work and the 14 smaller ones marking the beginning of chapters, it was made in north-eastern Italy, perhaps in Padua. The volume’s binding lends credence to such a localization: the motifs impressed into the leather, which include suns and dogs, tell us that in the 15th century it was just down the road in Mantua in the library of the Gonzaga family. Indeed, the first part of the manuscript may well be one of more than a dozen Arthurian prose romances listed in the Gonzaga inventory dated 1407. Even with their sizeable collection of Tristan manuscripts, however, the Gonzaga clearly hadn’t had enough of Tristan’s exploits: after the inventory was made, further episodes were added in a different hand (ff. 64r-86v).
The Medieval Francophone Literary Cultures Outside France Project has aimed to trace some of the literary traffic between France and Italy in the Middle Ages, but inevitably some mysteries remain. Add MS 23929 is unusual among the surviving prose Tristan manuscripts made in Italy because it preserves the first part of the romance, including a prologue attributed to the unidentifiable Luce del Gast and the tale of Tristan’s distant (and equally adventure-prone) ancestors. Only after recounting Tristan’s family history does this version give us the story as it begins in other manuscripts of Italian origin, relating Tristan’s birth, his arrival at the court of his uncle, King Mark of Cornwall, and his potion-induced love for the Irish princess, Iseult. The francophilia and bibliophilia of the Gonzaga family may go some way to explaining the presence of the first part of the prose Tristan in Mantua, but the full details escape us for now.
Additional MS 23929 ends with Iseult’s disastrous honeymoon: shortly after marrying King Mark she is abducted by the Saracen knight Palamedés and will only be reunited with her husband thanks to Tristan’s intervention. A note in Italian tells us that the adventure continues in another volume, which seems to have been listed in the Gonzaga inventory of 1407 but has not survived.
In marked contrast to Add MS 23929 is a second prose Tristan manuscript in the British Library’s collections. The text of Add MS 5474 was written in a smaller and rather more angular script, pointing to production in northern France in the (very) late 13th century. Its language bears all the hallmarks of the prestigious Picard scripta of Old French. The conclusions we might draw from the text, moreover, are corroborated by the 26 framed miniatures illustrating the volume: these were in all likelihood painted by the artist responsible for Paris, Bibliothèque nationale, fonds français 110, a Lancelot-Grail manuscript made c. 1295 in the County of Artois or the Cambrésis. There is relatively little evidence of production of Tristan manuscripts in Paris before 1300, but to the north and north-east – beyond the boundaries of the kingdom of France – it was thriving.
Like several other surviving volumes, Add MS 5474 begins about a third of the way through the romance, with King Mark shamefully ambushing Yvain of the White Hands (and feeling pretty smug about it, too). The ensuing narrative, with its countless jousts and tournaments, is dominated by the spectacular Tournament of Louveserp, at which Tristan even outshines Lancelot, and by the story of the Quest for the Holy Grail, which sees Galahad come to prominence. Add MS 5474 bulks up the Grail story with passages borrowed from the Agravain section of the Lancelot-Grail Cycle (ff. 144r-162v). In one of these interpolated episodes, illustrated in the above miniature, Lancelot makes a hasty getaway from Guinevere’s chambers, dressed only in his underwear. He had been tricked into sleeping with the daughter of the guardian of the Holy Grail. Hardly becoming of a Grail knight!
The prose of the Tristan is punctuated throughout by letters, laments and lays in verse. Like the song above, which denounces King Mark as ‘muck and filth’ (to put it politely), these more ‘lyrical’ moments are often easily spotted in manuscripts thanks to their layout as lines and stanzas of poetry, as opposed to the long-lines of prose. The master composer and performer of songs is, of course, Tristan himself. And it is while playing one of his lays on the harp in Iseult’s bedchamber that the villainous Mark murders him. But is Tristan’s musicianship enough for him to be crowned best knight that ever was? You’ll have to explore the prose Tristan to find out...
- Huw Grange (University of Cambridge)
20 August 2015
The Constitution of the Athenians and the History of Athenian Democracy
Building the Ancient City: Athens and Rome begins tonight on BBC2. The first episode includes footage and discussion of the Constitution of the Athenians (Papyrus 131).
While a great many important texts have survived from antiquity, many others have been lost to us. These we know only from sporadic quotations and mentions in extant works, leaving us to wonder what they might have been able to teach us about the ancient world.
For many centuries, Aristotle’s Constitutions, and in particular the Constitution of the Athenians, was numbered amongst the most important of these. According to Diogenes Laertius, Aristotle and his school collected the constitutions of 158 Greek city-states and wrote commentaries on each of them. Of these 158 commentaries, 68 are mentioned by name in other sources, clearly marking the Constitutions as a significant work in antiquity. In addition, the Constitution of the Athenians itself was known from 90 separate quotations, setting it apart from the others in terms of its importance to philosophers, historians, and other scholars in antiquity. Aristotle himself gave us evidence for the existence of the Constitutions, stating at the end of his Nicomachean Ethics that his Politics would be based in part on the “collected constitutions”.
In light of this, the discovery of nearly the whole text of the Constitution of the Athenians at the end of the nineteenth century was monumental. In 1879, two leaves of a papyrus codex, dating from the fourth century, were acquired by the Ägyptisches Museum in Berlin. These contain fragments of the Constitution of the Athenians with marginalia. Then, in 1889, three papyrus rolls, dating from the late first century, were found in Egypt by E. A. Wallis Budge, an assistant at the British Museum. These were sent back to London and accessioned as Papyrus 131. A fourth roll followed in 1890, but unfortunately, this was far more damaged than the other three. Frederic Kenyon, later Director and Principal Librarian of the British Museum, but then a young assistant in the Department of Manuscripts, was able to identify the text of the papyrus as the Constitution of the Athenians. Unfortunately, the papyrus lacks the opening sections of the work, which are believed to have dealt with legendary figures such as Ion and Theseus. Kenyon’s first edition was published in 1891, along with an English translation.
The importance of this text for our understanding of the development, nature, and challenges of Athenian democracy cannot be overstated, and it has remained an object of scholarly study since its discovery. It recounts the history of Athenian legal and political institutions down to 403 BC and analyses their form and quality in the 330’s and 320’s – it should be noted that it does not declare or create these institutions, as a modern reader may imagine given the title ‘Constitution.’ Instead, along with other Classical texts, particular those by Herodotus, Xenophon (who also has a Constitution of the Athenians credited to his name), and Thucydides, the work gives us a clearer picture of Athenian history and government.
It should be noted that since the work’s publication, its attribution to Aristotle himself has been debated – not least because the style of the work is quite different from that found elsewhere in Aristotle. The fact that the work is in a different genre from the rest of Aristotle’s works may, however, be enough to explain the stylistic variance. Certainly, the ancient sources unanimously credit the work to him. Whether written by Aristotle himself or not, the text remains a significant primary source for Classical Athens, and a treasured piece of cultural history.
- Andrew St. Thomas
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