Medieval manuscripts blog

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900 posts categorized "Illuminated manuscripts"

14 March 2020

Pilgrimage by proxy

A recent addition to our digitised collections is a unique 15th-century guidebook for pilgrims to the Holy Land. Almost like a late medieval Lonely Planet guide for a prospective pilgrim, it contains an illustrated narrative of the journey, a detailed itinerary with distances, and practical instructions for prospective pilgrims.

The main text is a detailed account of a pilgrimage to Jerusalem and Mount Sinai, originally written in Italian by the Franciscan friar Niccolò da Poggibonsi (fl. 1345–1350), and known as Libro d’Oltramare (Book of Outremer). Our manuscript (Egerton MS 1900) is the only known copy of the German translation of this text.

A coloured drawing of the Church of the Holy Sepulchre, with bell tower and a ramp leading to the upper level.

Church of the Holy Sepulchre, Jerusalem; Southern Germany (Nürnberg?), c. 1465: Egerton MS 1900, f. 12v

The genre of written pilgrimage accounts to the Holy Land has its origins in the 4th century. Such texts were aimed at readers who were unable to physically make such a long and difficult journey. By reading descriptions of the actual locations mentioned in the Bible, they could instead go on a mental pilgrimage, envisaging the places as they read.

Niccolò’s mid-14th-century text revolutionised this genre in several ways, making it easier than ever before for a European reader to visualise the cities, churches and places of veneration. Firstly, his account was the first pilgrimage guidebook written in the vernacular. Moreover, it is a first-person narrative based on his first-hand experiences, whereas most previous accounts were derived from much older texts. Moreover, it seems that Niccolò planned from the beginning to incorporate illustrations of the places and marvels he encountered into the text.

Coloured drawing of the walled up Golden Gate of the Temple Mount, Jerusalem, with five lines of text underneath.

Golden Gate, Jerusalem: Egerton MS 1900, f. 51r

Unsurprisingly, the text describes the many important churches and sites in Jerusalem in the most detail. These passages are illustrated with no fewer than 40 drawings. They mainly portray important buildings and churches, such as the Golden Gate (f. 51r), the complex of the Church of the Holy Sepulchre (ff. 12v, 14r, 15r, 18v, 19v, 20v, 23v, 26r), the Chapel of the Ascension (f. 44r), and the Dome of the Rock on Temple Mount (f. 52v).

Coloured drawing at the bottom of a manuscript page, of the place of the Last Supper with a wooden table and entrance on the right hand side.

The place of the Last Supper: Egerton MS 1900, f. 36r

More specific locations associated with important events from the Bible are also included, such as ‘the place where our Lord ate his evening meal with his Disciples' (der stat do unnser herr sein abent essen aß mit seinem Jungern). Although the perspective is slightly confusing, the illustration of the place of the Last Supper shows a wooden trestle table on a colourful mosaic floor.

Coloured drawing of the city of Nazareth with a fountain in the foreground on the left-hand side.

Nazareth and ‘St Gabriel’s well’: Egerton MS 1900, f. 75v

Numerous locations of important biblical events elsewhere in the Biblical Levant and the Sinai Peninsula are also portrayed. For instance, under the heading ‘Saint Gabriel’s well’ is a nearly full-page drawing of a well or a fountain with the city of Nazareth in the background. This was the well where, according to tradition, the Angel Gabriel appeared to the Virgin Mary during the Annunciation.

A manuscript page with a coloured drawing of a tree with leaves reaching down to the ground in the middle of the page.

The tree of the apples of Paradise: Egerton MS 1900, f. 139r

Another site mentioned towards the end of the text, as the narrator is travelling through Sinai, is the tree of ‘the apples of Paradise’. This seems to refer to the very Tree of Knowledge of Good and Evil in the Garden of Eden, the fruit of which tends to be depicted as an apple in western Christian art.

Coloured drawing of a mount with the body of St Catherine, wearing a golden crown, on the top.

The mountain where the body of St Catherine was found: Egerton MS 1900, f. 132r

Another category of important places in the pilgrimage account is locations related to the veneration of early Christian martyrs. For example, there are several illustrations of sites connected to St Catherine of Alexandria (d. c. 305). The most unusual among them is perhaps the drawing of ‘the mountain where St Catherine was first found’ (Der perg do Sant Katrey am ersten funden wart). It shows a mottled brown mound with the incorrupt body of the saint, dressed in a red dress and a golden crown, lying on the top.

Close-up of a manuscript page with a coloured drawing of four pyramids in a row.

Detail of pyramids: Egerton MS 1900, f. 116v

A smaller category of illustration is that of various marvels that were curious to a medieval European traveller. Shown above are the small drawing of four pyramids, most likely representing the pyramids at Giza. The heading testifies to the late-medieval belief that, instead of monumental tombs, they were in fact the ‘granaries of the Pharaohs’ (korn kasten kunig pharaonis).

A coloured drawing of an imagined giraffe with short legs, long neck, and a shaggy grey coat.

Giraffe: Egerton MS 1900, f. 110v

Interrupting the sequential narrative of the journey is a small series of exotic animals encountered by Niccolò, including the elephant, a local goat breed big enough to ride, and the ostrich. More unusually for a medieval illustration, the fourth exotic animal is the giraffe. The text is based on an eyewitness encounter, but the artist is unlikely to have seen an actual giraffe. While they included the characteristic long neck, they seem to have based the other features of this giraffe — such as the cow-like head and the shaggy grey coat — on domesticated animals closer to home.

Why not check out the rest of this wonderful manuscript and go on a mental pilgrimage of your own? You can read more about it in this article by Kathryn Blair Moore: ‘The Disappearance of an Author and the Emergence of a Genre: Niccolò da Poggibonsi and Pilgrimage Guidebooks between Manuscript and Print', Renaissance Quarterly, 66 (2013), 357–411.

 

Emilia Henderson

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29 February 2020

10 years of the Medieval Manuscripts Blog

This month is an exciting anniversary for us: it has been ten years since the British Library's award-winning Medieval Manuscripts Blog began back in February 2010. It’s a decade that has seen large-scale digitisation, blockbuster exhibitions, exciting acquisitions and fascinating discoveries, and the Blog has been our main way of letting you know about them all. We aim to be inspiring, informative and amusing and above all to share with you the manuscripts love. To celebrate our big anniversary, join us in looking back at some of the Blog's highlights over the years.

10. Launch of The Polonsky Foundation Pre-1200 Project

Medieval manuscript miniature of the Adoration of the Magi
The Adoration of the Magi from an illuminated Psalter, London, 1220s: Lansdowne MS 420, f. 8v

Originally started to promote the Library’s Greek Manuscripts Digitisation Project, the Blog announced the launch of the British Library’s Digitised Manuscripts site back in September 2010. Over 2,900 digitised manuscripts later, we’re still blogging to keep you updated about our digitisation projects. One of the most ambitious of these was the Polonsky Foundation Pre-1200 Project, a collaboration with the Bibliothèque nationale de France, in which we digitised 400 manuscripts, produced two new bilingual websites and published an accompanying book. Announcing the project launch was one of our proudest moments.

9. The voices of ancient women

Papyrus with a drawing of a girl
A girl serving drinks at a table, from an illustrated copy of the Life of Secundus, the Silent Philosopher: Egypt, 6th century, Papyrus 113 (15c)

We may be called the Medieval Manuscripts Blog, but we’re actually the section for Ancient, Medieval and Early Modern Manuscripts. Our blogposts about the Library’s ancient collections are ever-popular, and one of the big hits of 2018 was our post commemorating International Women’s Day, exploring fascinating insights into the lives of women in Roman Egypt from some of our ancient Greek papyri.

8. The first voyage of Codex Amiatinus

The Codex Amiatinus
Codex Amiatinus, written at Wearmouth-Jarrow before 716: Florence, Biblioteca Medicea Laurenziana, MS Amiatino 1 (© Biblioteca Medicea Laurenziana, Florence)

The Blog provides us with a great platform for promoting exhibitions such as Royal Manuscripts (2011–12), Magna Carta (2015), Harry Potter (2017–18), and Anglo-Saxon Kingdoms (2018-19). We know that our readers loved our series of blogposts accompanying the Anglo-Saxon Kingdoms exhibition. One of the most popular announced that the oldest surviving, complete Latin Bible in the world, Codex Amiatinus, was coming on loan to the British Library. It was the first time that this incredible manuscript, made at the twin monasteries of Wearmouth-Jarrow before 716, had returned to the British Isles in over 1300 years.

7. Loch Ness Monster found at the British Library

A photoshopped image of a medieval manuscript with a picture of the Loch Ness monster capsizing a boat with a monk looking on
An artist's reconstruction of the Loch Ness Monster (Sarah J Biggs, 2013)

The Medieval Manuscripts Blog is known for making some very important discoveries on 1st April each year. These completely serious and factual discoveries are some of the Blog's perennial favourites. For example, who could forget the time we used specialist imaging to uncover the earliest known picture of the Loch Ness Monster?

6. Unicorn cookbook found at the British Library

A photoshopped image of a medieval manuscript with a picture of a man cooking a unicorn on a grill
Detail of a unicorn on the grill in the Unicorn Cookbook

By complete coincidence, 1st April was also the date on which we made another of our very exciting discoveries: the long-lost unicorn cookbook. Every year this blogpost receives thousands of page-views from people wanting to learn how medieval cooks prepared this rare delicacy.

5. Medieval Manuscripts at the UK Blog Awards

A photo of Julian and Sarah at the Blog Awards
Julian and Sarah triumphant at the UK Blog Awards

One special highlight was when we were named Arts and Culture Blog of the Year in the inaugural UK Blog Awards in 2014. It was a tremendous honour and we were thrilled to bits!

4. White gloves or not white gloves

A photo of a hand wearing white gloves

We also use the Blog to share useful information about accessing and caring for our collections. One of our most popular blogposts explains our policy of not wearing gloves to handle manuscripts. There is a widespread view, stemming from films and television, that white gloves should be worn for handling old books. But recent scientific advice suggests that wearing gloves can do more harm than good.

3. Hwæt! Beowulf online

The opening words of the Beowulf manuscript
The opening words of Beowulf, beginning "Hwæt" ("Listen!"): London, British Library, Cotton MS Vitellius A XV, f. 132r

On the Blog we provide regular updates on which manuscripts are available to view online. It’s especially exciting when our favourites go online, and over the years we have announced the digitisation of star manuscripts such as the Lindisfarne Gospels and Old English Hexateuch, Christine de Pizan’s Book of the Queen, the Luttrell Psalter and more. But the announcement that received the greatest attention was the 2013 digitisation of the Beowulf manuscript, the most famous poem in the Old English language.

2. St Cuthbert Gospel saved for the nation

The front cover of the Cuthbert gospel, featuring tooled leather with interlace and plant designs
The front cover of the St Cuthbert Gospel, Wearmouth-Jarrow, late 7th century: Add MS 89000

The Blog is also where we announce new acquisitions. The most thrilling of these was when we acquired the St Cuthbert Gospel following the most successful fundraising campaign in the Library's history. Created in the early 8th century in the North-East of England and placed in St Cuthbert's coffin in Durham Cathedral, this is the earliest intact European book. Since 2010 we’ve also welcomed into the collection treasures such as the Mostyn Psalter-Hours, the Southwark Hours, the Percy Hours and a leaf from an Anglo-Saxon benedictional.

1. Knight v Snail

Medieval manuscript depiction of a knight fighting a snail
Knight v Snail in the Gorleston Psalter, England (Suffolk), 1310-1324: Add MS 49622, f. 193v

Our number one is our most viewed blogpost of all time: the phenomenally popular Knight v Snail. In 2013, a trip to the manuscripts store room to look at some medieval genealogical rolls resulted in a blogpost about the ultimate adversaries of the medieval margins. Why do knights fight snails in medieval manuscripts? No one knows for sure but, as our viewers have demonstrated, it certainly makes for great entertainment.

There are so many blogposts we haven't been able to mention here — Lolcats of the Middle Ages, anyone? Crisp as a poppadom, Shot through the heart and you're to blame, A medieval rainbow, New regulations for consulting manuscripts, Help us decipher this inscription — suffice to say, this is our 1,299th blogpost, and in the last 10 years the Blog has attracted over 5.25 million views from almost 200 countries ... more than enough to pass a rainy day.

Thank you so much to our talented writers and loyal readers — you’re all brilliant. Editing the blog is such a wonderful experience and we're incredibly grateful to everyone who has made it possible. Here’s to the next ten years!

Don't forget to follow us on Twitter @BLMedieval

27 February 2020

Clever cats and other swashbuckling tales

We have recently published a new selection of manuscripts online. They contain a variety of swashbuckling tales, mischievous furry creatures, and ever more glorious images. Which is your favourite?

 

Petit Jean de Saintré and Floridan and Elvide (Cotton MS Nero D IX)

This book contains two little-known romances. The first, by Antoine de La Sale, tells the adventures of the hero, Jean, at the court of King John of France. His lady, the Dame des Belles Cousines, teaches him how to become the perfect knight. Following this is the tragic story of Floridan et Elvide, a French prose romance about a young couple who elope in order to avoid an arranged marriage. They are waylaid at an inn by a group of rascals, who first murder Floridan, then attack Elvide, who is forced to take her own life to avoid dishonour. A not so happy ending.

A knight kneeling at court, while a group of ladies look on

A knight kneeling at court, from Petit Jean de Saintré: Cotton MS Nero D IX, f. 2r

A miniature showing Floridan being attacked while Elvide watches

Floridan is attacked while Elvide watches, from Floridan and Elvide: Cotton MS Nero D IX, f. 109r

 

Le Roman de Renart (Add MS 15229)

We recently blogged about this collection of tales of one of the world’s most famous tricksters. Tibert the cat is the only one of the animals who is the match of the cunning fox, Renard, and manages to avoid falling victim to his wicked schemes.

enard and Tibert the cat, seated, looking at the moon

Renard and Tibert the cat, seated, looking at the moon: Add MS 15229, f.  53r

 

Dante Alighieri, Divina Commedia (Add MS 19587)

This manuscript, with coloured drawings showing Dante on his remarkable journey, was copied in Naples around 1370. It has the coats of arms of the Rinaldeschi family and the Monforte family, Counts of Biseglia (Naples), with on the final page are found entries of births and deaths in the family between 1449 and 1483.

Dante and Virgil are in a barren wood, with the harpies perched on top of thorny trees, representing the souls of suicides; hounds tear the bodies of the profligates; Virgil breaks off a twig and the wounded tree drips blood

Dante and Virgil are in a barren wood, with the harpies perched on top of thorny trees, representing the souls of suicides; hounds tear the bodies of the profligates; Virgil breaks off a twig and the wounded tree drips blood, from Inferno, Canto 13: Add MS 19587, f.  21r

 

The Pilgrimage of the Soul (Egerton MS 615)

This allegory of life as a pilgrimage was translated from the French work by Guillaume de Deguileville. As in the well-known Pilgrim’s Progress, the protagonist, assisted by his guardian angel, undergoes various trials and overcomes temptation on a long journey that ends in Paradise. This manuscript was copied and illustrated somewhere in eastern England.

The pilgrim and his guardian angel, unbaptized souls in a band of darkness, devils torturing a soul and a mock court scene with Satan and a devil

The pilgrim and his guardian angel, unbaptized souls in a band of darkness, devils torturing a soul and a mock court scene with Satan and a devil: Egerton MS 615, f. 46v

 

The Mirror of Human Salvation, made for a royal owner (Harley MS 2838)

The Mirror of Human Salvation draws parallels between episodes and prophesies in the Old and New Testaments, historical and natural events, and saints' Lives. This copy was made for King Henry VII (1485–1509), founder of the Tudor dynasty. The royal arms of England with the motto 'Honi soit qui mal y pense' are found on the first folio.

The Virgin Mary, holding the instruments of the Passion, banishes the devil; Judith holds the head of Holoferne

The Virgin Mary, holding the instruments of the Passion, banishes the devil; Judith holds the head of Holofernes: Harley MS 2838, f. 32v

 

Aldobrandino of Siena, Le Régime du corps; Gautier of Metz, L'Image du monde (Sloane MS 2435)

This 13th-century volume contains Aldobrandino’s handbook on health, composed for Beatrice of Savoie (1220–1266). Its contents are based mainly on Latin translations of Arabic medical texts. It is followed by a poem by Gautier of Metz about the Earth and the universe. The first text includes a section on sleep as part of a healthy lifestyle, with an illustration of a situation that is all-too-familiar. 

Above, a person is sleeping peacefully; below, two people absorbed in a game that is keeping them awake

Illustration of a treatise on sleeping and waking; above, a person is sleeping peacefully; below, two people absorbed in a game that is keeping them awake: Sloane MS 2435, f. 7r

 

The Romance of the Three Kings’ Sons (Harley MS 326)

This Middle English romance concerns three young princes, Philip of France, Humphrey of England, and David of Scotland, who set off to battle the Turks. The illustrations in this manuscript are unique, as it is a rare surviving illustrated copy of the story.

The coronation of the Emperor

The coronation of the Emperor: Harley MS 326, f. 98v

 

Fribois, Abrege de Croniques de France (Add MS 13961)

This 15th-century manuscript contains an abbreviated chronicle of France, from the destruction of Troy to the death of Louis de Mâle, Count of Flanders, in 1383. It was composed in 1459 by Noel de Fribois, counsellor to King Charles VII of France, and was written and painted for Etienne Chevalier, secretary to the king.

The decorated opening page of the chronicle

The decorated opening page of the chronicle: Add MS 13961, f. 2r

 

You can explore all these manuscripts in full on our Digitised Manuscripts site, alongside other gems from the British Library's collections.

 

Chantry Westwell

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13 February 2020

In Praise of the Psalms

When we were cataloguing a Psalter manuscript as part of the Polonsky Foundation England and France digitisation project, we identified a previously unrecognised copy of the text known as De laude psalmorum ('In praise of the Psalms'). This short Latin treatise explains why saying the Psalms was considered spiritually beneficial, and which Psalms were good for which purposes. It opens a window onto how medieval people understood one of the most important liturgical and devotional books of the Middle Ages, the Psalter.

A damaged miniature of the Lapidation of St Stephen
A damaged miniature of the Lapidation of St Stephen: Harley MS 2928, f. 13v

Harley MS 2928 was made in 12th-century Aquitaine (now in southern France). The main part of this book is a copy of the book of Psalms, with four now quite damaged miniatures, an exposition of Christian hymns, and a copy of part of the Gospel of John in the Old Occitan language. As was typical for Psalters in this period, a number of prayers and texts related to prayers have been included in the manuscript, including De laude psalmorum on ff. 192v-194r.

This text, which some scholars believe to be the work of Alcuin of York, was extremely popular in medieval Europe. The scholar Jonathan Black has identified 193 copies of De laude psalmorum, or of parts of it, from all over Europe and dating from the 9th to the 16th centuries, including five at the British Library (Add MS 37768, Royal MS 5 E IX, Add MS 36929, Cotton MS Tiberius C VI, and Royal MS 2 A XXII) (Jonathan Black, Mediaeval Studies (2002)). As this work was not an official part of church liturgy, but instead something to be undertaken because the reader him- or herself personally wanted to pray and praise God, its readers and copyists must have believed it to be particularly useful.

A damaged miniature of a three saints including an archbishop
A damaged miniature of a three saints including an archbishop: Harley MS 2928, f. 18r

In its full version, which is found in Harley MS 2928, De laude psalmorum offers eight reasons why the reader might wish to say the Psalms, and a selection of Psalms which are good for those purposes. For example, if you are afflicted by trouble and spiritual temptation, you are told to sing Psalms 21, 63 and 68 . Other reasons for singing the Psalms include the desire to praise God, the confession of sins, and the feeling of having been abandoned by God. Throughout the text, a great deal of importance is placed on the reader's inner state of mind, and his or her own wish to pray: each of the eight sections begins with the words 'si vis' ('if you wish') or similar, and the reader is told to sing the Psalms 'intima mente' ('in your innermost mind') or 'compuncto corde' ('with a goaded heart').

Harley MS 2928 is not an especially high-status manuscript. Folio 193 is a little misshapen, and there is a hole in it, through which – completely coincidentally – we can see the word 'gratiam' ('grace').

A hole in the parchment, through which the word 'gratiam' ('grace') is visible
A hole in the parchment, through which the word 'gratiam' ('grace') is visible: Harley MS 2928, f. 193r

But Harley MS 2928 is not the only manuscript digitised for the Polonsky Foundation England and France project which contains part of De laude psalmorum. Cotton MS Titus D XXVI, half of an 11th-century manuscript known as Ælfwine's Prayerbook, includes a brief list, written in Old English, of devotions to perform first thing in the morning, including singing Psalm 66 (see Kate Thomas, Notes & Queries (2012)). The author of this text comments:

'Ne mæg ænig mann on his agen geþeode þa geswinc 7 þara costnunga nearonessa, þe him onbecumað, Gode swa fulfremedlice areccan, ne his mildheortnesse biddan, swa he mæg mid þillicum sealmum 7 mid oþrum swilcum'

('No man can tell God so effectively, in his own language, of the hardship and oppression of the temptations which come to him, nor ask his mercy, as he can with these psalms and with other such').

This is closely adapted from the advice given in De laude psalmorum:

‘nullatenus potest tua propria lingua nec humano sensu tam perfecte miseriam tuam ac atribulacione angustiamque diversarum tribulacione explicare et illius misericordiam implorare quam in his psalmis et ceteris his similibus’

('You cannot in any way, in your own language, nor in human thought, so perfectly explain your suffering, and the trouble and constriction of various temptations, and ask his mercy as in these psalms and in others similar to them').

Medieval manuscript with text of devotions to perform first thing in the morning
Text of devotions to perform first thing in the morning: Cotton MS Titus D XXVI f. 2v

This quotation, short though it is, shows how a popular text could be copied by scribes in different places, and in different languages, across the centuries. One of the exciting things about the Polonsky Foundation England and France 700-1200 project has been the discovery of new copies of texts and of the common interests which bring manuscripts from England and France together.

Kate Thomas 

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03 February 2020

Van Eyck: An Optical Revolution

The exhibition Van Eyck: An Optical Revolution opens at the Museum of Fine Arts in Ghent this week, aiming to bring the medieval world of the Flemish court painter to life and contextualise his ground-breaking developments in oil painting. Around twenty works by Jan van Eyck (b. before 1390, d. 1441) have survived to the present day and are now housed at institutions around the world. Over half of these will be displayed in the museum for the next two months, most notably ‘The Adoration of the Mystic Lamb’, a 15th-century altarpiece from St Bavo’s Cathedral that has recently undergone extensive restoration. The exhibition will display these items alongside pieces by Van Eyck’s contemporaries from France, Spain, Italy and Germany, gathering together numerous examples of late medieval painting, miniature art, sculpture and drawings.

The Adoration of the Mystic Lamb, a panel painting showing a sheep standing on an altar with a stream of blood emitting from its breast into a chalice, surrounded by praying angels
Hubert van Eyck and Jan van Eyck, The Adoration of the Mystic Lamb (detail), at the Museum of Fine Arts Ghent (MSK) in Ghent, Belgium (Kenzo Tribouillard / AFP via Getty Images)

The British Library has loaned to the exhibition two medieval manuscripts that particularly highlight the artistic environment in which Van Eyck was working. The first is a beautifully illuminated Book of Hours produced in Paris in around 1410 for a French aristocratic or possibly royal patron (Egerton MS 1070). Around 1440 it came into the possession of the bibliophile René of Anjou, King of Naples (b. 1409, d. 1480) and subsequently five full-page illustrations were added at key points in the manuscript, apparently at the request of the Neapolitan king who wanted to customize it for his own use. Most recent scholars have attributed these added illustrations to Barthélemy d'Eyck (b. c. 1420, d. after 1470), a Netherlandish artist known to have worked for René in the middle of the fifteenth century. He also seems to have been a member of Jan van Eyck’s family, though the exact nature of their relationship remains unclear.

The additions to the manuscript include a painting of René’s coat of arms, followed by a view of Jerusalem, showing two of the city’s most sacred sites, the Church of the Holy Sepulchre and the Dome of the Rock.

The coat of arms of René of Anjou
The coat of arms of René of Anjou, King of Naples, added to a French Book of Hours (Paris, c. 1410): Egerton MS 1070, f. 4v

 

A view of the city of Jerusalem, showing the Church of the Holy Sepulchre and the Dome of the Rock
A view of the city of Jerusalem, showing the Church of the Holy Sepulchre and the Dome of the Rock, added to a French Book of Hours (Paris, France, c. 1410): Egerton MS 1070, f. 5r

Another addition is a macabre personification of Death wearing a golden crown, which was added directly before the Office of the Dead. It might be a portrait of the king himself, a reminder to René to live wisely. The worm-eaten corpse clasps a scroll inscribed ‘Memento homo quod sinis es et in sinere reverteris’ (Remember, man, that you are dust and to dust you will return), while in front of him a textile is displayed, bearing the king’s arms.

A personification of Death wearing a golden crown
A personification of Death wearing a golden crown, added before the Office of the Dead in a French Book of Hours (Paris, c. 1410): Egerton MS 1070, f. 53r

The exhibition also features the first volume of a five-part Latin Vulgate bible, made in Liège in around 1430 and later housed at the Benedictine monastery of St Jacques in the city. This volume has been recently digitised and now can be viewed online (Add MS 15254). The first page of the Book of Genesis (f. 13r) opens with a decorated initial letter I(n Principio), containing illustrations of the days of Creation. At the side of the initial is a column of angels holding scrolls with quotations from the writings of St Augustine of Hippo (b. 354, d. 430). Beneath them is a kneeling cleric, who possibly represents the manuscript’s patron. 

The opening of the Book of Genesis, with a decorated initial I including representations of the days of Creation, and marginal illustrations of angels, philosophers, and Old Testament prophets
The opening of the Book of Genesis, with a decorated initial I including representations of the days of Creation, and marginal illustrations of angels, philosophers, and Old Testament prophets. (Southern Netherlands, c. 1430): Add MS 15254, f. 13r

 

St Augustine and Aristotle, and Albertus Magnus and Averroes debate the creation of the world
St Augustine and Aristotle, and Albertus Magnus and Averroes debate the creation of the world, in marginal illustrations at the beginning of the Book of Genesis (Southern Netherlands, c. 1430): Add MS 15254, f. 13r detail

Other illustrations were added to the page at a later date, and these display a close resemblance to a style typically used for panel painting during this period. In the lower margin, two pairs of Christian and pagan scholars are shown debating the creation of the world: St Augustine and the Greek philosopher Aristotle (b. 384 BC, d. 322 BC) on one side, and Albertus Magnus (d. 1280) and the Arabic philosopher Averroes (b. 1126, d. 1198) on the other. Meanwhile, in the right-hand margin appear representations of three Old Testament prophets. Though the identity of the manuscript’s illuminator remains unknown, the style of the added illustrations has been closely compared with that of Van Eyck and it is likely that the two artists were working in the same circle in the Meuse region (now covering parts of Belgium, Germany and the Netherlands).

We strongly recommend that you go to see both these manuscripts on display at Van Eyck: An Optical Revolution which runs at the Museum of Fine Arts (MSK), Ghent, from 1 February until 30 April 2020.

Calum Cockburn

Follow us on Twitter @BLMedieval

 

31 January 2020

The Trees of the Sun and the Moon

In modern times, ‘Moon Trees’ are trees that grew from the seeds that were taken into the Moon’s orbit by Apollo 14, which launched for the third manned mission to the Moon on 31 January in 1971. Medieval people, in contrast, would have associated ‘Moon Trees’ with an entirely different undertaking: the campaign begun in 326 BC by Alexander the Great (353–323 BC), king of the Greek empire of Macedon, with a view to conquering the world. The fictional 4th-century Epistola Alexandri ad Aristotelem (Letter of Alexander to Aristotle) tells that Alexander, during his expedition to India, visited a grove with two holy trees. Inside the grove, he met a high priest of more than ten feet tall who explained that one tree was male, could speak the Indian language, and foretold one’s future at the rising of the Sun; the other tree was female, could speak Greek, and foretold one’s future at the rising of the Moon. After Alexander prayed at the feet of the holy trees, they answered him that he would conquer the world but die from poisoning in Babylon before he could return home.

Alexander the Great, wearing a crown, with three of his men behind him, kneeling with his hands lifted in prayer at the foot of two trees. The trees feature symbols of the sun and moon, and are flanked by a tall figure wearing a red tunic, representing a high priest.

Alexander and his followers praying at the Trees of the Sun and the Moon guided by a high priest (England, 1333c. 1340): Royal MS 19 D I, f. 32r

The oracle trees feature in several Alexander narratives. One of these is the Roman d'Alexandre en prose, a French translation of a 10th-century Latin version of a Greek Alexander romance, spuriously attributed to the historian Callisthenes (c. 360–c. 327 BC). In illustrated copies of this narrative, the oracle trees are sometimes conflated with the ‘Dry Tree’, another tree that Alexander visited and in whose branches he found the phoenix, a legendary self-resurrecting bird.

Alexander the Great, wearing a crown, with three of his men behind him, kneeling and with his hands lifted in prayer at the foot of two trees, featuring symbols of the sun and moon among their leaves. Between the two trees is another tree which has no leaves, but features a large bird (a Phoenix) with purple and gold colours in its branches. The trees are flanked by an old man in a grey robe, representing a high priest.

The Trees of the Sun and the Moon and the Dry Tree (Rouen, 14441445): Royal MS 15 E VI, f. 18v

The oracle trees were well-known to medieval encyclopaedists and chroniclers. In the 13th-century L’Image du monde (Mirror of the World), Gautier de Metz referred to them as reference points. In the 13th-century Speculum Historiale (Mirror of History), Vincent of Beauvais stated that the balm of the trees allowed the priests at the grove to live for 300 years. The 14th-century Polychronicon of Ranulf Higden attributed their longevity to the trees’ apples. A unique Middle English translation of the Polychronicon in Harley MS 2261 (f. 25v) describes the trees as follows:

‘The Trees of the Sun and the Moon are in India, and by their apples priests live for 500 years’

[‘The trees of the sonne and of the moone be in ynde, by the apples of whom prestes lyffede by vc yeres’]

John Mandeville, the supposed author of a fictional travel memoir describing the wonders of the Holy Land, Africa, and Asia, located the ‘Trees of the Sun and the Moon that spoke to King Alexander’ (‘tres of þe sunne and of þe monne þat spak to kyng alysaundre’) in a desert beyond the unidentified river ‘Beaumare’, but noted that he was unable to visit the trees because of the dangerous animals in the desert, such as dragons, serpents, lions and elephants.

Two priests, one wearing a red tunic, picking and eating apples in the grove of the Trees Sun and the Moon with wild animals emerging from its bushes below, including a lion and an elephant in the right lower corner.

Dangerous animals surrounding the grove of the Trees of the Sun and the Moon, in Mandeville’s Travels (England: 1st half of the 15th century): Harley MS 3954, f. 64r

The Trees of the Sun and the Moon were also included on medieval world maps (mappaemundi). The Higden map (Royal MS 14 C IX, f. 1v), for example, marks the spot where ‘Alexander prayed for an answer from the trees’ (‘hic alexander petebat responsum ab arboribus’). Other mappaemundi, such as the 12th-century Tournai Map of Asia (Add MS 10049, f. 64v) and the 13th-century Psalter world map (Add MS 28681, f. 9r), also illustrate the oracle trees.

Christ wearing a blue and red robe, lifting both arms, and holding a small red orb of the world, while being flanked by two angels swinging censers above a circular map of the world. The upper half of the world map that is here visible features roundels with human faces representing the twelve winds of Aristotle in a green ring that goes around the map. Immediately below the roundel with the human face at the very top of the map is another roundel, representing the Garden of Eden, that features two figures facing a tree against a dark background. On the right side of this roundel, are drawn two yellow trees, representing the Trees of the Sun and the Moon.

The Trees of the Sun and the Moon (Arbor Solis and Arbor Lunae) close to the Garden of Eden on the Psalter world map (London, 12621300): Add MS 28681, f. 9r

Two trees with curled branches or leaves drawn in brown ink at the top of the map and on the left side of the Red Sea, which is here highlighted with a yellow colour.

The ‘Oracle of the Sun and the Moon’ (Oraculum solis et lunae) next to the Red Sea (Rubrum Mare) on the Tournai Map of Asia (possibly Tournai, 12th century): Add MS 10049, f. 64v

With increasing expeditions into Asia, mapmakers began to prefer Africa as the location of legendary sites. It is for this reason that the Harleian Mappemonde (Add MS 5413), which was produced around 1540, does not locate the oracle trees in India but in sub-Saharan Africa. Their name has been changed as well, and they are now simply referred to as ‘The Trees of the Moon’ (‘Les arbres de la lune’). These changes suggest that the mapmaker conflated these trees with the equally legendary ‘Mountains of the Moon’. According to the Greek geographer Ptolemy (c. AD 100–c. 170)’ in his  Geographia, these mountains were the source of the river Nile. A certain merchant named Diogenes who was crossing East Africa discovered them and observed that their snow-melt created two lakes from which the Nile originates. On the Harleian Mappemonde, the Trees of the Moon are placed exactly below the Mountains of the Moon.

Two groups of trees with a crescent moon above them, below green hills from which rivers flow that form two lakes from which two larger rivers originate that form the river Nile.

The Trees of the Moon on the Harleian Mappemonde (possibly Dieppe, c. 1540): Add MS 5413

The Mountains of the Moon highlighted in yellow, from which small rivers flow into two lakes. From these lakes flow larger rivers that join and form the river Nile.

The Mountains of the Moon in Ptolemy’s Geographia (Florence, 3rd quarter of the 15th century): Harley 7182, f. 85r

As people continued to explore the world , belief in the existence of the Trees of the Sun and the Moon waned. Ironically, it is because of continued explorations — namely, the Apollo 14 mission, which gave us the Moon Trees — that their name continues to this day.

 

Clarck Drieshen

Follow us on Twitter @BLMedieval

 

21 January 2020

Animals on coats of arms

We invite you to explore some of the wildlife that can be found in our heraldic manuscripts. Medieval and early modern coats of arms — visual designs symbolising the heritage and achievements of individuals and families — are teeming with animal life. These animals are depicted according to heraldic conventions, but sometimes they also display fabulous features originating from medieval illustrated ‘books of beasts’, known as bestiaries.

It can sometimes be difficult to understand what these borrowings from the bestiary tradition represent. Luckily, we have a guide book at our disposal, namely the 15th-century Middle Scots Deidis of Armorie (found in Harley MS 6149). This ‘heraldic bestiary’ explains what the behaviours and appearances of animals on coats of arms indicate about the origins of specific families. The manuscript containing the Deidis of Armorie has recently been digitised and can be found on our Digitised Manuscripts site. In this blogpost we'll study some extraordinary heraldic animals up close.

An opening from The Deidis of Armorie, showing coats of arms with animals on them in the margins

The Deidis of Armorie (Scotland, c. 1494): Harley MS 6149, ff. 16v–17r

We start with the heraldic ostrich, happily chomping on its staple food: horseshoes and keys. This imagery originates from the bestiary tradition, which supposed that the animal had remarkable digestive abilities, enabling it to consume and process iron. What does the ostrich's presence on a coat of arms mean? According to the Deidis of Armorie, it signified that the first bearer of these arms ate hard things — in other words, they were as tough as nails — and that they had a defiant nature (‘eite hard thingis and [wes] diffailland of natur’).

An ostrich with a large iron key in its beak

The ostrich as a heraldic crest (England, 17th century): Harley MS 4926, f. 8v

Tigers are often depicted on coats of arms gazing into mirrors. According to bestiaries, this imagery illustrated the method by which robbers could steal a tigress’s cub. The cub-nappers would be pursued by the tigress, but could deceive her by dropping a mirror on the ground. The tigress would stop to look into the mirror, mistake her own reflection for her stolen cub, and start nursing it, allowing the thieves to get away. The Deidis of Armorie claims that those who first bore the tiger on their coats of arms were feigning, cunning and deceitful (‘dissimilit, wyly, and double in his dedis’).

A tiger looking down into a mirror

The tiger on a coat of arms (England, 4th quarter of the 16th century-1st quarter of the 17th century): Harley MS 6106, f. 68v

The heraldic elephant typically sported a tower or castle on its back. This imagery corresponds with the bestiary tale that male elephants were used in battle, and that men built castles filled with armed soldiers upon them. The Deidis of Armorie interprets a coat of arms inhabited by such an elephant as a sign that its first bearer was large and virtuous, and carried great burdens during their life (‘gret of body and of vertu, berand gret birdingis’).

An elephant with a castle with three towers on its back

The elephant on a coat of arms (England, c. 1632): Harley MS 6060, f. 109r

The heraldic pelican is found sitting on its nest while feeding its young with its own blood. Bestiaries told that the father pelican killed his young when they struck him with their wings, and that the mother subsequently revived them with her blood. The Deidis of Armorie explains that whoever first adopted a pelican on his coat of arms took vengeance on his neighbours when they harassed him, but that they were subsequently restored through him as well (‘[þai] wald have vengeance of his nixt nychtpuris quhen þai did oppressioun [bot] nychtburis scalit his blud for till heill þaim of his vengeance’).

A pelican with outstretched wings, piercing its breast with its beak to feed its young, below in a nest, with its own blood

The pelican on a coat of arms (England, 16th century): Harley MS 709, f. 22r

The heraldic panther is another wonderful sight. In line with the bestiary descriptions, coats of arms present it as a friendly animal with multi-coloured spots, issuing ‘flames’ out of its mouth and ears. The latter represent the sweet-smelling belch that the animal was wont to issue after a meal. Although the panther is not part of the Deidis of Armorie, Rodney Dennys (The Heraldic Imagination (Fakenham: Cox & Wyman, 1975), pp. 143–44) has pointed out that heraldic manuscripts sometimes interpret the animal’s multi-coloured spots as symbols for the many virtues of the arms’ bearer.  

A panther with a white fur featuring blue, green, red, and yellow spots, and flames coming out of its mouth and ears

The panther as a heraldic supporter (England, c. 1600-1609): Harley MS 6156, f. 24r

We end our tour with the heraldic salamander. Bestiaries claimed that the salamander was a fire-resistant animal, and so we find it basking in flames of fire on coats of arms. The salamander is not covered by the Deidis of Armorie , but Dennys suggested that its presence on a coat of arms signified that its first bearer had survived great danger. James Douglas (1426–1488), 9th Earl of Douglas and 3rd Earl of Avondale, was among the first to display the animal on his coat of arms, perhaps alluding to his surviving a failed insurrection against King James II of Scotland, and subsequently escaping to England.

The head of a green salamander surrounded by flames of fire

The salamander as a heraldic crest (England, 17th century): Harley MS 5818, f. 13v

If you would you like to see more heraldic animals, and to explore the symbolism behind them, we would encourage you to look out the Deidis of Armorie on Digitised Manuscripts.

The text quoted here can be found in Luuk A. J. R. Houwen, The Deidis of Armorie: A Heraldic Treatise and Bestiary, I, The Scottish Text Society, Fourth Series, 22 (Edinburgh: The Scottish Text Society, 1994).

 

Clarck Drieshen

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01 January 2020

New year, new manuscripts

Long-term readers of this Blog may know that we periodically publish lists of our digitised manuscripts (our last list was published in June 2019). As a special treat to celebrate the New Year, today we are releasing a new update to our lists of manuscript hyperlinks. We hope this makes it easier for you to explore our amazing digitised treasures.

The aftermath of a jousting scene in which the knight Jean de Saintré has knocked his opponent from his horse. Lords and ladies watch the joust from separate pavilions.
Jean de Saintré beats his opponent Enguerrand in a joust, from an illustrated copy of Antoine de La Sale’s French romance Le Petit Jean de Saintré, 4th quarter of the 15th century, Paris: Cotton MS Nero D IX, f. 40r 

There are now over 2900 Ancient, Medieval and Early Modern manuscripts on our Digitised Manuscripts website and more are being added all the time. For a full list of what is currently available, please see this PDF: Download Full-list-digitised-mss-dec-2019. This is also available as an Excel spreadsheet: Download Full-list-digitised-mss-dec-2019 (this format cannot be downloaded on all web browsers).

An illustration of a lion
The zodiac sign Leo (Lion) depicted in an illustrated astrological treatise, Georgius Fendulus, Liber astrologiae (Book of astrology), 2nd or 3rd quarter of the 14th century, France or Southern Netherlands: Sloane MS 3983, f. 40r

The Library's Ancient, Medieval and Early Modern team has been busy as ever over the last 6 months, working to make more manuscripts available online. All the images included in this blogpost are from manuscripts that we have digitised since June 2019. To admire our most recent additions to the Digitised Manuscripts site, take a look at this list of manuscripts published since June 2019. PDF: Download Digitised_mss_jun_2019_dec_2019. Excel: Download Digitised_mss_jun_2019_dec_2019.

On the left-hand side, demons torture the souls of the dead in Hell. On the right-hand side, the Egyptian Pharaoh and his soldiers drown in the Red Sea.
Illustrations of the punishments of Hell (left) and the drowning of Pharaoh and the Egyptian army in the Red Sea (right), from a 15th-century copy of the Speculum Humanae Salvationis (Mirror of Human Salvation), England, S. E. (London): Harley MS 2838, f. 44r

You can find out how to make the most of Digitised Manuscripts in this previous blogpost. Many images of our manuscripts are also available to download from our Catalogue of Illuminated Manuscripts which is searchable by keywords, dates, scribes and languages.

An illustration of the Annunciation, showing the Virgin Mary and the Angel Gabriel, with a cat and a dog playing in the centre of the image and borders filled with birds, plants, and the figures of infants.
An illustration of the Annunciation at the beginning of the Hours of the Virgin Mary, early 15th-century Book of Hours, France: Add MS 29433, f. 20r


We hope you have a very Happy New Year and enjoy exploring Digitised Manuscripts!

Visit our Medieval England and France website to discover how to make a medieval manuscript, to read beastly tales from the medieval bestiary, and to learn about medieval science, medicine, monastic libraries and more.

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