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281 posts categorized "Decoration"

13 June 2013

Lindisfarne Gospels on BBC Radio 3

On Sunday, 16 June, the magnificent Lindisfarne Gospels is to feature in a special programme on BBC Radio 3. Presented by award-winning children's author David Almond, the programme will investigate the significance of the Gospels, exploring its creation, the journeys made by the book, and the cultural and religious landscape from which the manuscript emerged.

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Portrait of St John the Evangelist in the Lindisfarne Gospels (London, British Library, MS Cotton Nero D IV, f. 209v).

Part of the programme was recorded on location at the British Library, the interviewees including Scot McKendrick (Head of History and Classics), Claire Breay (Lead Curator, Medieval and Earlier Manuscripts), and Deborah Novotny (Head of Collection Care). The Lindisfarne Gospels is one of the nation's greatest medieval treasures, and can be seen in its entirety on our Digitised Manuscripts site.

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Detail from the canon-tables in the Lindisfarne Gospels (London, British Library, MS Cotton Nero D IV, f. 12r).

Scholars are divided as to the precise date when this Latin gospelbook was made. According to a colophon written in the manuscript by Aldfrith, provost of Chester-le-Street (fl. 970), the scribe and artist was none other than Eadfrith, bishop of Lindisfarne (698–721?). Aldfrith was also responsible for adding the interlinear gloss in Old English.

Also featured in the Radio 3 progamme is the St Cuthbert Gospel (London, British Library, MS Additional 89000). This is the oldest intact European book, and was purchased by the British Library in 2012, following a successful fundraising campaign (see our previous post, St Cuthbert Gospel Saved for the Nation).

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The St Cuthbert Gospel, dating from the late-7th-century (London, British Library, MS Additional 89000, f. 28v).

The Lindisfarne Gospels is on semi-permanent display at the British Library, but both it and the St Cuthbert Gospel will soon be showcased in a major exhibition at Durham. David Almond's radio documentary is entitled "The Gospels Come Home", and explores the meaning of the Lindisfarne Gospels to himself and his fellow North-Easterners. It will be broadcast on BBC Radio 3 at 19.45–20.30 on 16 June, and will subsequently be available to United Kingdom listeners via the BBC iPlayer.

10 June 2013

Princes, Be Good!

Celebrating the 700th anniversary of Boccaccio's birth with John Lydgate's Fall of Princes.

John Lydgate's Fall of Princes is a version of Giovanni Boccaccio's Latin prose De casibus vivorum et feminarum illustrium, in English verse, via the intermediary French translation by Laurent de Premierfait, De cas des nobles hommes et femmes (c. 1409).  Lydgate was a poet and the prior of Hatfield Regis.  He wrote the Fall of Princes between 1431 and 1439 as a commission for Humphrey, duke of Gloucester.

Boccaccio's original poem, written between 1355 and 1360 with modifications up to 1375, is a treatise in nine books on the caprice of Fortuna (Fortune).  The author recounts tragic events in the lives of notable men and women from biblical, classical, and medieval history, from the Fall of Adam and Eve to the capture of King John of France by the English at Poitiers in 1356. Through the stories, De casibus provided moral lessons for readers, demonstrating both models of virtue and examples of vice to avoid.

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Miniature of two Benedictine monks kneeling before St Edmund enthroned; John Lydgate is identified as the monk on the right who holds a scroll reading 'dann Iohn lydgate'.  From John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 5r

In his Fall of Princes, Lydgate did not simply translate Boccaccio's De casibus. Influenced by Premierfait's French translation of the text, as well as his own studies, Lydgate added stories from other authors including Ovid, Petrarch, Chaucer, and Gower.  Focusing on the results of evil-doing in particular, the Fall of Princes became a kind of manual of advice for rulers on how to regulate their own lives and moral behaviour.  Lydgate's poem proved to be tremendously popular; a remarkable number of copies of the text were made in the second half of the fifteenth century.  38 manuscript versions and nine fragments are currently known, as well as some extracts included in other manuscripts.

Here are some of our favourite miniatures from an illustrated copy of the Fall of Princes made c. 1450-1460, now Harley MS 1766.  This copy was made about ten years after the poem was written by Lydgate, and was produced by the Edmund-Fremund Scribe and a team of local artists, probably in the Benedictine Abbey of Bury St Edmunds in Suffolk.  The manuscript is beautifully decorated with 156 marginal miniatures accompanying various episodes in the text.  Many of these miniatures depict the tragic deaths of the characters described, which include suicides, hangings, stabbings, and various kinds of fatal falls.

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Miniature of the Explusion of Adam and Eve from Paradise, from John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 13r

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Miniature of Oedipus, dressed in royal garments, tearing out his own eyes, from John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 48r

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Miniature of Jocasta, Queen of Thebes, committing suicide after realising that Oedipus was 'her own husband and son both', from John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 50r

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Miniature of Sardanapalus, the last king of Assyria, reputed to be a decadent and lascivious ruler, represented throwing himself from the doorway of his palace into a fire, from John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 117r

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Miniature of Haman, minister of the Persian empire under King Ahasuerus, being hanged from the same pole that he had set up to kill Mordecai (from Esther 7:10), from John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 141v

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Miniature of King Arthur, the figure of an ideal king, enthroned in royal robes, receiving emissaries from Rome, from John Lydgate's Fall of Princes, England (Bury St Edmunds?), c. 1450 - c. 1460, Harley MS 1766, f. 217r

 

You can read more about this manuscript in: Henry Bergen, Lydgate's Fall of Princes, 4 vol. (London, 1924-27); Giovanni Boccaccio: Catalogue of an Exhibition held in the Reference Division of the British Library 3 October to 31 December 1975 (London, 1975), no. 39; Kathleen L. Scott, Later Gothic Manuscripts 1390-1490, A Survey of Manuscripts Illuminated in the British Isles, 6, 2 vols. (London, 1996), no. 110; Sarah L. Pittaway, 'The Political Appropriation of Lydgate's Fall of Princes: A Manuscript Study of British Library, MS Harley 1766' (unpublished doctoral dissertation, University of Birmingham, 2011) [passim].

- Maria Alicia Trivigno 

06 June 2013

What Did Medieval Kings Really Look Like?

The first 10 folios of Royal MS 20 A II (the newest upload to our Digitised Manuscripts site) are a portable portrait gallery of the kings of England in chronological order.  Each king is depicted in a tinted drawing, surrounded by symbols or events from his reign. The images of later kings are followed by genealogical tables or Latin verses about the monarch in question.

Here are some examples of the ways that artists in the 14th century portrayed their rulers.  The question is - can the images tell us anything at all about how these kings really looked?

Edward the Confessor is shown in the manuscript as tall, upright, and elegantly dressed, posing with a sceptre and a book, looking pensively into the distance.

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Detail of a miniature of Edward the Confessor, England, c. 1307 - c. 1327, Royal MS 20 A II, f. 5r

In his portrait, Richard I (or Richard the Lion Heart), though seated on his throne, appears ready to leap into action and his garments seem rather ill-fitting. He is cross-eyed and looks somewhat belligerent. The heads of three Christians and three Saracens - a reference to his Crusading fame - glare at each other from either side of his throne.

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Detail of a miniature of Richard the Lionheart, England, c. 1307 - c. 1327, Royal MS 20 A II, f. 8r

Compare the above to the fine figure on the 19th century statue in front of the House of Lords in London!

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Statue of Richard the Lionheart, before the Palace of Westminster, via Wikipedia Commons

King John is shown in the manuscript smiling tenderly at his dogs, while stroking one of them playfully.  He has a simple, open face, and does not seem to be weighed down by the cares of state.

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Detail of a miniature of King John, England, c. 1307 - c. 1327, Royal MS 20 A II, f. 8v

Henry III, on the other hand, looks rather disgruntled in his portrait as he shows off the bells of his new cathedral, Westminster Abbey.  He does not seem very pleased with the way his project has turned out, or perhaps he is frustrated by the building costs!

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Miniature of Henry III enthroned, flanked by Westminster Abbey and church bells, with a genealogical table of his descendants below, England, c. 1307 - c. 1327, Royal MS 20 A II, f. 9r

The portrait of  Edward the Confessor (top) is one of 10 produced by the same artist, which can be found on folios 2 to 5 of the manuscript, beginning with legendary kings like Vortigern and Arthur.  They are all framed in black.  The portraits on folios 5v to 10 are by a second artist, who drew the later kings from Edward the Confessor to Edward II.  In this final portrait (below), Edward II is referred to as prince (‘princeps’), in the caption, indicating that the image might date from before or around the time of his coronation in 1307. He has a rather pretty face, and the person presenting the crown is looking at him sideways, apparently unsure of him.  Beneath the image, a poem in praise of King Edward has been erased, and replaced by a lament, allegedly written by the king after his deposition in 1327, bemoaning his fate as ‘le roys abatu’ (the beaten-down king) who is mocked by everyone.

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Miniature of Edward II enthroned, being offered the crown, England, c. 1307 - c. 1327, Royal MS 20 A II, f. 10r

This series of portraits of English kings precedes a copy of Peter of Langtoft’s French verse chronicle, tracing the history of Britain from the early legends of Albion and Brutus up to the time of Edward II.  Langtoft was a canon at an Augustinian priory called Bridlington in Yorkshire, and this manuscript of his work was copied in the North of England.  It also contains fragments of the Lancelot-Grail romances and a letter attributed to Joanna, Queen of Sicily.

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Section of Langtoft's Chronicle detailing battles of King Arthur, England, c. 1307 - c. 1327, Royal MS 20 A II, f. 34r

Royal 20 A II was one of the manuscripts displayed in last year's Royal exhibition, and can be seen in its fully digitised version here.

- Chantry Westwell

 

29 May 2013

Film Screening of the Gospels of Tsar Ivan Alexander

Last September, the Bulgarian Embassy and His Excellency Mr Konstantin Dimitrov, the Ambassador of the Republic of Bulgaria to the United Kingdom, hosted a private view of two Bulgarian manuscripts that are now on display in the British Library’s Sir John Ritblat Treasures Gallery. On that occasion, we were delighted to announce that the whole of the Gospels of Ivan Alexander can now be viewed on the Library’s Digitised Manuscripts site.

На тази електронна страница можете да разгледате Четириевангелието на цар Иван Александър, най-богато украсеният средновековен български ръкопис.

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The Gospels of Tsar Ivan Alexander (London, British Library, MS Additional 39627, f. 3r).

Now, as part of the British Weeks in Bulgaria, the British Embassy in Sofia will host a screening of the film ‘Portrait of a Quest’ about the Gospels of Ivan Alexander. The event will be held on 5 June 2013 at the British Residence, 6pm to 8pm. Free entrance, RSVP: [email protected].

The British Weeks in Bulgaria is a celebration of Bulgarian-British links that includes more than twenty events to take place in Sofia, Plovdiv and Varna. The events highlight the close links and prospects resulting from the close relationship between Bulgaria and Great Britain. For more information and a full programme, please follow this link.

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The Gospels of Tsar Ivan Alexander (London, British Library, MS Additional 39627, f. 32v).

The Gospels of Tsar Ivan Alexander (Additional MS 39627) is the most celebrated surviving example of Bulgarian medieval art. Written over 650 years ago, in the middle of the 14th century, the manuscript contains the Four Gospels of Matthew, Mark, Luke and John. Accompanying and fully integrated into the text, no fewer than 366 illustrations – one for each day of the year – illustrate an extensive range of events from the narrative of the four Evangelists. The scribe Simeon recounts that the book was created ‘not simply for the outward beauty of its decoration, of colours, gold, precious stones and diamonds, but primarily to express the inner Divine Word, the revelation and the sacred vision’. On display in the British Library's Treasures Gallery at St Pancras is a portrait of the Tsar in Paradise between Abraham and the Virgin Mary and within the overall context of a magnificent depiction of the Last Judgment. The starting point for this large illumination is Mark’s account of Jesus’s prophecy of the end of time.

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The Gospels of Tsar Ivan Alexander (London, British Library, MS Additional 39627, f. 265v).

The manuscript is a remarkable survival.  Within forty years of the completion of the Gospels of Ivan Alexander, its patron was dead and his empire destroyed. Unlike many other artistic treasures of this remarkable period in Bulgarian history, the Gospels escaped destruction, finding its way north across the Danube. Here it came into the possession of the ruler of Moldavia, also called Ivan Alexander. For several centuries the history of the Gospels is unclear. By the 17th century, however, it appears to have reached the monastery of St Paul on Mount Athos. There it remained until its presentation in 1837 by the abbot of St Paul’s to the young English traveller the Hon. Robert Curzon. Brought by Curzon to England, it was later presented to the British Museum by his daughter.

27 May 2013

Rejoice Now!

Our newest upload to the Digitised Manuscripts site is a gorgeous example of a rare early medieval liturgical document known as an Exultet roll.  Exultet rolls contain the hymns and prayers said during the blessing of the Easter (or Paschal) candle; their name comes from the opening exhortation: Exultet iam angelica turba caelum ('Rejoice now, all you heavenly choirs of angels'; see below).

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Detail of a decorated initial 'E'(xultet) at the beginning of the prayer for the lighting of the Paschal candle, Italy (Monte Cassino), c. 1075-1080, Add MS 30337, membrane 2

Our Exultet roll, Add MS 30337, comes from the Benedictine monastery of Monte Cassino in southern Italy. This region of Italy was strongly influenced by Byzantine practice, and by the 11th century had developed a distinct style for the Easter vigil, continuing to use liturgical rolls in the ceremony; such rolls had largely fallen out of favour elsewhere in Europe.

Exultet rolls were read aloud from an ambo, or elevated pulpit, which faced the congregation.  As the deacon chanted the words, he would allow each finished section to hang over the edge of the ambo so that the gathered people could see the accompanying pictures.  This courtesy to the audience required, of course, that the images be painted upside-down on the roll.  We have published the online version of Add MS 30337 with the 'correct' orientation so that the text can be easily read, but as a courtesy to all of you, please see the images in all their splendour (and right-side-up) below.

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Detail of Christ enthroned between two angels, Add MS 30337, membrane 1

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Detail of four angels ('Angelica turba caelorum'), Add MS 30337, membrane 2

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Detail of Tellus, the personification of Mother Earth, with a cow and a serpent suckling her breasts, and in the lower register, a personification of Ecclesia between a group of lay people and a group of clerics, Add MS 30337, membrane 3

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Detail of a deacon reading and unrolling the Exultet roll from the ambo and the Paschal candle being lit, Add MS 30337, membrane 4

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Detail of the Crucifixion, Add MS 30337, membrane 6

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Detail of the Crossing of the Red Sea, and Christ's Harrowing of Hell, Add MS 30337, membrane 7

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Detail of the Noli me tangere, and below, Adam and Eve in the Garden of Eden, Add MS 30337, membrane 8

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Detail of the Paschal candle being censed inside a church, Add MS 30337, membrane 9

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Detail of bees gathering nectar, and a bee-keeper collecting wax to create the Paschal candle, Add MS 30337, membrane 10

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Detail of the Virgin Mary enthroned, with two figures excised on either side, Add MS 30337, membrane 11

You can check out the fully digitised roll here, and don't forget to follow us on Twitter @blmedieval.

- Sarah J Biggs

24 May 2013

Of Captions, Clerics, and Queens: Tweeting the Medieval Illuminated Manuscript

And now for something a bit different: a guest post from one of our most faithful Twitter correspondents, Robert Miller (many thanks, Robert!).

From LOLcats to the seductive Hey-Girl-I-Like-the-Library-Too musings of Ryan Gosling, the internet was made for captioning: slapping a surprising phrase on an unsuspecting image in the service of humour and hipsterish irony.

It was only a matter of time before captions were used to retrofit medieval art for the social media age.  With the help of Photoshop, Star Wars fans have creatively rewoven the Bayeux Tapestry.  And then there is Dutch medieval scholar Erik Kwakkel, the (decidedly youthful) father of illuminated manuscript captioning.  Erik works to popularise manuscript studies with a heady mix of tweeting, blogging, and tumblring, in both serious and LOL modes: his captions typically evoke a delightful dissonance between a centuries-old image and our modern sensibilities.

My first attempt at Kwakkelian captioning on Twitter was my most successful, if one measures success by the number of retweets one gets (and what else matters, these days, but to tweet and be retweeted in turn?):

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At the medieval Apple store, trying out the latest iPad.  Additional MS 39636, f. 10r

I've been inspired to caption for a few reasons:  an amateur's love of medieval illuminated manuscripts, the vibrant, welcoming community of medievalists on Twitter (Damien Kempf, Sarah Peverley, Kathleen McCallum, and Shamma Boyarin, to name just a few); and the British Library's farsighted decision to make its medieval images free of copyright restrictions, meaning manuscript geeks like myself can caption, post, and play with the Library's image-hoard to their hearts' content.

Sharing captioned illuminations on Twitter is a great way to spark scholarly discussion, and I have learned much from tweeters and bloggers such as Steffen Hope and A Clerk of Oxford.  Of course, given the impish nature of many captions, the online conversation is not always entirely serious.  The following image, for example, gave rise to a debate between tweeting medievalists (Sarah J Biggs among them) as to the 14th-century origins of designer handbags:

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A queen, a monk, and a fabulous bag (probably Kate Spade).  Harley MS 4399, f. 22r

 Undoubtedly the best captions, like the best lyric poems, write themselves:

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With this bagel, I thee wed.  Royal MS 6 E VI, f. 104r

Other captions heighten the drama of crucial moments in a manuscript's narrative:

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A monk, bopped on the head with a baguette.  Harley MS 4399, f. 82r

But my favourite type of caption isn't even the funny kind.  My favourite type of caption is a simple acknowledgement of the beauty, the intimacy, and the exceptionally human quality of medieval manuscript illumination.  The British Library's savvy use of social media is doing much to bring delightful, tender images, like the one below, to an even wider audience:

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The abbot of Saint-Denis consulting a wise-woman, which is kinda awesome.  Royal MS 20 C VII, f. 12r


An academic librarian in the United States, Robert Miller dreams of a full-time position as a medieval anchorite (with paid vacations).  You can follow his tweets @robmmiller.

And of course, you can follow us at @blmedieval.

05 November 2012

Beautiful Contraband: The Queen Mary Psalter

We are thrilled to announce the long-awaited upload of the Queen Mary Psalter to our Digitised Manuscripts site (click here for the full manuscript).  We discussed the Psalter last year in our post Rival Queens, Precious Books, but here is a bit of a recap...

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Miniature of the Crucifixion, with eight niches occupied by male figures, with an historiated initial 'A'(d), with a pope, king, bishop and two others kneeling before an altar, with a bas-de-page scene of Christina cast into the sea and rescued by angels, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 256v

 

The Psalter is named, as you might imagine, for Queen Mary Tudor (1516 - 1558), daughter of King Henry VIII, but the manuscript was not made for her - in fact, it was produced nearly 200 years before Mary's birth.  The Psalter was created in England, probably in London or East Anglia, between 1310 and 1320.  Some scholars argue that it was made for Isabella of France (1295 - 1358), Queen of England and consort of Edward II, but unfortunately there is no certainty about this point.  The Psalter was certainly created for an aristocratic patron, and possibly a royal one, but the lack of any colophon or coats of arms in the manuscript means that it has been impossible to conclusively link it to any original owner. 

 

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Miniature of the Tree of Jesse, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 67v

 

More is known about the manuscript itself, which was put together with an enormous amount of care.  The Psalter opens with a unique cycle of Old Testament miniatures, which details events from the Fall of Lucifer to the death of Solomon and is accompanied by an Anglo-Norman commentary found nowhere else; it was probably commissioned particularly for this manuscript. This is followed by a calendar, the Psalter (Book of Psalms) proper, Canticles, and Litany, and virtually all of the manuscript is in the hand of one scribe.

 

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Miniature of Christ in the Temple speaking to the doctors, with the Virgin and Joseph behind, and six niches with prophets, accompanying the text of Psalm 52, with a bas-de-page scene of a mounted man and two mounted women hawking, with a man on foot holding a lure, and a hawk attacking a duck, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 151r

 

The layout of the text was meticulously planned to fit almost seamlessly with the nearly unparalleled program of decoration in the Psalter.  The sheer number of images throughout are staggering; there are 223 Old Testament images, 24 calendar scenes, 104 half- or full-page miniatures, 23 historiated initials, and 464 marginal or bas-de-page drawings.  Most remarkably, every image in the manuscript was produced by a single highly-skilled artist, now known as the Queen Mary Master.

We know very little about where the Queen Mary Psalter was during the first two centuries of its existence.  By the early 1550s it had come into the hands of Henry Manners, the 2nd earl of Rutland (1526 - 1563), who as a devout Protestant was arrested by Mary in May of 1553, shortly after she took the throne.  A much-erased note on f. 84r reads:  'This boke was sume tyme [under erasure: the Erle of Rutelands], and it was his wil / that it shulde by successioun all way / go to the [under erasure: lande of Ruteland] or to / [partially erased: him that linyally succedis by reson / of inheritaunce in the seide lande'].

 

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It is uncertain what happened to the Psalter after Rutland's arrest, but in October of 1553 it was seized by an eagle-eyed and opportunistic customs officer named Baldwin Smith; there presumably had been an attempt to remove the manuscript from England.  Smith inscribed his name and the circumstances of this seizure at the end of the manuscript (see f. 319v) and then presented it as a gift to Queen Mary.  Mary clearly valued the Psalter very highly; she had it rebound to include the pomegranate device that she had inherited from her mother (see above, now much worn), and there is some evidence to suggest that she used it in her personal devotions. 

If you would like more information about the Queen Mary Psalter, it is among those manuscripts featured in the Royal app, which is still available for download.  We hope that you enjoy paging through this treasure on Digitised Manuscripts (online here); a few of our favourite images are below.

 

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Miniature of God the Creator holding a compass with angels and cherubins, and Lucifer with fallen angels and devils, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 1v

 

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Detail of a miniature of two centaurs with bows, aiming their arrows at nearby birds (for the zodiac sign Sagittarius), from a calendar page for November, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 82r

 

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Detail of a miniature of the three Magi before Herod, with a bas-de-page scene of a bear on a chain springing at a woman, while a man is whipping him, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 131r

 

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Detail of a bas-de-page scene of two hybrid grotesques (each half-fish), with shields and lances, jousting with one another in the ocean, from the Queen Mary Psalter, England (London or East Anglia), between 1310 and 1320, Royal MS 2 B. vii, f. 143v

- Sarah J Biggs

09 September 2011

Erasing Becket

Recently we’ve had a number of enquiries asking about instances of erasure, removal, or striking out of references to St Thomas of Canterbury in some of our manuscripts (one example can be seen above).  It is actually fairly common to find such 'cancellations' in English medieval manuscripts (or those that remained in England throughout the time of the Protestant Reformation), and they can be seen particularly in devotional manuscripts such as Books of Hours or Psalters.

A page from a 15th-century Book of Hours, showing an illustration of the martyrdom of Thomas Becket.

Miniature of the martyrdom of Thomas Becket, Archbishop of Canterbury, at the beginning of his suffrage, which is struck through in accordance with the suppression of the saint’s cult under Henry VIII, Book of Hours (Use of Sarum), France (Rouen), c. 1430 – 1440, Harley MS 2900, f. 56v

To some extent these removals can be seen as part of the Reformation’s project of iconoclasm, and the efforts to eliminate idolatry and ‘superstition’ from the religion of England. But even bearing this in mind, it is nonetheless true that Thomas Becket and his cult were uniquely singled out for suppression by the architects of the Reformation, for a number of reasons.

In medieval England devotion to St Thomas of Canterbuy was widespread and passionate; before the Reformation there were more parish churches dedicated to him than to any other English saint.  His shrine in Canterbury Cathedral was visited by countless pilgrims (including those described by Geoffrey Chaucer), from all across Europe, and it was the site of hundreds of reported miracles.  It was also extremely wealthy, with many visitors and believers making offerings, and its status as the premier site of devotion and pilgrimage may have made it a target. 

But it is more likely that it was St Thomas’ own history as a ‘turbulent priest’ that made the suppression of his cult desirable for Henry VIII and his advisers.  As Archbishop of Canterbury, Thomas Becket fiercely espoused the independence of the Church from royal authority, and his murder in 1170 by soldiers of Henry II made him a martyr and a popular hero.  For Henry VIII the lesson was clear - a religious leader who had defied the king and been canonized for it was a dangerous precedent during a time of great religious change.

St Thomas is mentioned by name in many of the early Royal Injunctions that sought to abolish the ‘most detestable sin of idolatry.’  In September 1538 his shrine was dismantled, its treasure removed and carted away, and his bones disinterred and possibly burnt.  The physical destruction of his shrine was followed several months later by an edict attempting to destroy his reputation and renown.

A Royal Proclamation of 16 November 1538 was issued jointly by Henry VIII and Thomas Cromwell, attributing St Thomas’ death, ‘untruly called martyrdom,’ to a riot begun by the ‘opprobrious words’ and ‘stubbornness’ of Thomas himself.  Because ‘there appeareth nothing in his life and exterior conversation whereby he should be called a saint,’ the Royal Proclamation ordered that Thomas instead was ‘rather esteemed to have been a rebel and traitor to his prince.’

The Proclamation concluded that ‘henceforth the said Thomas Becket shall not be esteemed, named, reputed and called a saint… and that his images and pictures throughout the whole realm shall be plucked down, and avoided out of all churches, chapels, and other places; and that from henceforth the days used to be festival in his name, shall not be observed, nor the service, office, antiphons, collects, and prayers in his name read, but rased and put out of all the books.’

A decorated text page from a 15th-century Book of Hours, with references to Thomas Becket erased.

Text page with illuminated initial ‘L’(aude) and text, with references to Thomas Becket erased, Book of Hours (Use of Sarum), South Netherlands, 3rd quarter of the 15th century, Stowe MS 22, f. 25

A calendar page for December from the Queen Mary Psalter, with the feast day of Thomas Becket erased.

Calendar page for December, with the feast of St Thomas erased, Psalter (‘The Queen Mary Psalter’), England (London/Westminster or East Anglia?), between 1310 and 1320, Royal MS 2 B VII, f. 83

Although public response to this Proclamation, and others that followed, could fairly be described as mixed, within several years the Reformation had mostly succeeded in destroying most of the public representations of Thomas Becket (such as paintings and statues in churches). This was also largely the case with manuscripts of the time; for the most part, the owners of these manuscripts obeyed the Proclamations, but levels of compliance could vary greatly. 

For example, references to Thomas Becket could be ‘gently’ removed, by the careful erasure or striking through of particular words.  This can be seen above, in a page from a 15th century Book of Hours in which several instances of Thomas’ name have been erased, or in the December calendar page from the Queen Mary Psalter, where the feast of St Thomas (29 December) has been scraped away (also above, in the third line from the bottom).

An opening from a 15th-century Book of Hours, showing an illustration of the martyrdom of Thomas Becket, with the facing text of his suffrage excised from the manuscript.

Miniature of the martyrdom of Thomas Becket, and excision of the suffrage of Thomas Becket, Book of Hours (Use of Sarum), South Netherlands, 3rd  quarter of the 15th century, Harley MS 2985, ff. 29v-30

In some manuscripts an effort seems to have been made to excise all textual references to St Thomas, but occasionally the accompanying images do not seem to have been targeted.  This is particularly evident in this 15th century Book of Hours, in which portions of a folio containing prayers to the saint are neatly cut away, but the facing folio with a full-page miniature of the St Thomas’ martyrdom remains unaltered.

An opening from Anne Boleyn's Book of Hours, showing an illustration of the martyrdom of Thomas Becket facing the beginning of his suffrage.

Miniature of the martyrdom of Thomas Becket, and the beginning of his suffrage, Book of Hours (Use of Sarum), South Netherlands (Bruges), c. 1500, Kings MS 9, ff. 38v-39

There are very few manuscripts that seem to have been left utterly unscathed; interestingly, one of these (see above) was used by Henry VIII.  Notes to and from the king and Anne Boleyn (before their marriage) can be found in the margins of this Book of Hours, so it is clear that Henry knew the manuscript well.  It is strange, therefore, that the miniature of St Thomas’ martyrdom and the following folio with his suffrage were left unaltered, and there is as yet no explanation for their remarkable survival.

Sarah J Biggs

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