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281 posts categorized "Decoration"

04 January 2018

Glimpses of early Christian splendour in Constantinople

For over one thousand years Constantinople (now Istanbul) was a byword for awe-inspiring splendour. Named after the Emperor Constantine the Great (r. 306–337), who transferred the capital of the Roman Empire there in 324, the city also became the Christian capital of the world.

The Golden Canon Tables (British Library Add MS 5111/1 [ff. 10–11]) are spectacular witnesses to the remarkable quality of painting undertaken in Constantinople to embellish Christian texts. For one modern authority, they are ‘perhaps the most precious fragments of any Early Christian manuscript’ (Kurt Weitzmann, Late Antique and Early Christian Book Illumination, p. 116). Now mere fragments, they both hint at what fine early manuscripts of the Bible we might have lost and caution against rash generalisations based merely on those that have survived. The Canon Tables are now available on our Digitised Manuscripts website to view in glorious detail with the zoom feature.

A page from the Golden Canon Tables, showing a text in Greek on parchment that has been entirely painted gold, with a small portrait of a haloed figure and a decorated arch and column.

The Golden Canon Tables: Add MS 5111/1, f. 10r

As we mentioned in a blogpost several weeks ago, as a text the canon tables are ubiquitous and fundamental to Christian copies of Scripture over many centuries. Of the two thousand or so manuscripts that each contains the Four Gospels in Greek (literally, the Tetraevangelion), the vast majority begin with these tables. Devised by the early Church Father Eusebius (d. 340), bishop of Caesarea in Palestine, these tables formed a unifying gateway to the fundamental but multiple narratives of the Evangelists Sts Matthew, Mark, Luke and John. Canon 1 lists passages common to all four Gospels, Canons 2–9 different combinations of two or three Gospels and Canon 10 those passages found only in one Gospel. Building on a system of dividing up the text of the Gospels into verses that he attributed to Ammonius of Alexandria, Eusebius assigned consecutive numbers to sections in each Gospel and used these numbers within his tables to correlate related passages. The present leaves are rare witnesses of an early revision of Eusebius’s tables.

The Golden Canon Tables are a chance survival. Separated from the text of the Four Gospels that they once prefaced, they were added to a Greek Gospels written sometime before 1189. As they survive, the tables comprise the end of Eusebius’s letter, part of Canon 1, all of Canons 8–9 and part of Canon 10. Originally each of the two leaves would have been around twice as large. Both letter and tables are written in an imposing majuscule, or upper case, script on parchment previously painted entirely with ‘shell’ gold, that is powdered gold suspended in a binding medium so-called because this pigment was often kept in a shell in the early Christian and medieval periods.

A page from the Golden Canon Tables, showing a table with Greek letters on parchment that has been entirely painted gold, with a small portrait of a haloed figure and decorated arches and columns.

The Golden Canon Tables: Add MS 5111/1, f. 10v

Each is framed by magnificently illuminated columns and arches that distinctively combine rigorous geometric and linear forms with remarkable naturalistic features. Carefully drawn outlines and regularly applied paint stress the surface qualities of the overall architectural scheme. Elsewhere lavish and energetic brushwork emulate three-dimensional, natural forms, including lushly growing flowers and colourful birds. The letter is enclosed by one wide arch that once extended to the full width of the page and the tables by two narrower arches on each page.

Within the tables each of the arches is inscribed at the top with the canon number and subdivided below into further smaller arches, each of which is headed by the abbreviated name of the relevant Evangelist. Below each of these smaller arches are the parallel lists of section numbers for each Gospel, written in Greek letters and in groups of four.

A detail from the Golden Canon Tables, showing a portrait of a male figure, probably representing one of the Apostles.

The Golden Canon Tables: Add MS 5111/1, f. 11r (detail)

Within the surviving arches are four complete medallions with male bust portraits, three of which bear haloes. Each of these medallions emulates an ancient Roman form of portraiture known as the imago clipeata (shield portrait) which honoured the dead by a bust set within a round, shield-shaped form. The Christian symbol of the fish is included in the decorated arch directly above the bust portrait heading Canons 8 and 9. When complete the Golden Canon Tables probably contained twelve bust portraits. It has been argued that these memorialised the Apostles and were inspired by similar busts set in the arcades of the rotunda mausoleum of Constantine the Great located beside the Church of the Apostles at Constantinople.

For more information about Greek illuminated Gospels in general, including the Golden Canon Tables, please see our webspace dedicated to Greek manuscripts.

 

Further reading

Carl Nordenfalk, Die spätantiken Kanontafeln (Göteborg, 1938), pp. 127–46.

Carl Nordenfalk, ‘The Apostolic Canon Tables’, Gazette des Beaux-Arts, 62 (1963), 17–34 (pp. 19–21).

Kurt Weitzmann, Late Antique and Early Christian Book Illumination (London, 1977), pp. 19, 29, 116, pl. 43.

Byzantium: Treasures of Byzantine Art and Culture from British Collections, ed. by David Buckton (London, 1994), no. 68.

John Lowden, ‘The Beginnings of Biblical Illustration’, in Imaging the Early Medieval Bible, ed. by John Williams (University Park, PA, 1999), pp. 9–59 (pp. 24–26).

Scot McKendrick and Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames & Hudson, 2016), available online

 

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27 September 2017

Fifty shades of grisaille

The medieval period had a fascinating relationship with colour, producing beautifully illuminated manuscripts, vibrant stained glass and other richly decorated artworks. It is surprising then, that during the later Middle Ages a new highly prized art form developed almost entirely in shades of grey. From the French word gris (‘grey’), the technique of grisaille was only used in luxury manuscripts and signified the wealth and social status of their owners.

Image 1_royal_ms_14_d_i_f337v

Miniature of Philosophy holding the planetary spheres, in a French translation of Augustine’s De civitate Dei, last quarter of the 15th century, from Royal MS 14 D I, f. 337v

The use of grisaille possibly originated in the 12th century, following an attempted ban on the use of colour in stained-glass painting made by the Cistercian Order. During the 12th and 13th centuries, windows decorated in grisaille rose in popularity and were installed in medieval churches alongside coloured glass portraits of figures. The Italian artist Giotto (c. 1267–1337) is credited with the first use of grisaille in wall painting in the early 14th-century allegorical fresco of the Seven Virtues and Vices. Featuring on the north and south walls of the Scrovegni Chapel, Padua, the monochrome figures of the Virtues and Vices are painted to resemble stone and marble sculpture.

  Image 2_Seven Virtues and Vices fresco
Details of Charity and Envy, from the Seven Virtues and Vices fresco cycle, Scrovegni Chapel, Padua, Italy, c. 1303–1306

Manuscript illuminations began to feature grisaille painting from the first half of the 14th century onwards, and the art technique was used to indicate the manuscript’s status as a luxury product. The British Library houses several examples of the grisaille style of illumination, including a French Bible historiale in two volumes produced for Charles V of France in 1357 before his coronation as king in 1364. Both volumes (now Royal MS 17 E VII vol 1 and vol 2) open with large miniatures partially in grisaille. The second volume opens with scenes from the life of Solomon with a playful bas-de-page scene underneath of a lion, Charles V’s symbol.

Image 3_royal_ms_17_e_vii_vol_2_f001r

Opening page of Guyart des Moulins, Bible historiale with miniature of scenes from the life of Solomon and bas-de-page below of lion and monkeys, France, 1357, from Royal MS 17 E VII vol 2, f. 1r

Grisaille continued to be used in manuscript illuminations into the 15th and 16th centuries, as seen in a French translation of Augustine’s De civitate Dei (now Royal MS 14 D I) made for an unknown noble patron and featuring 11 miniatures in grisaille at the beginning of each book,  and containing a depiction of Philosophy holding the planetary spheres. Similar illuminations appear in a later copy of Caesar’s Commentaries on the Gallic War (now Harley MS 6205) produced for Francis I in 1519. The manuscript’s decoration was completed by a Flemish artist, Godefroy le Batave, including a dramatic night scene illustration of Caesar in battle.

Image 4_harley_ms_6205_f021v

Miniature of Caesar in battle, in Commentaires de la Guerre Gallique, France, 1519, from Harley MS 6205, f. 21v

Monochrome painting techniques soon developed beyond the colour grey. A 16th-century luxury Book of Hours features beautiful examples of camaïeu decoration, that is, single-colour painting in any colour other than grey. This Book of Hours (now Add MS 35313) was possibly produced for Joanna ‘The Mad’ I, Queen of Castille and Aragon, and illustrated by two Ghent master artists known as the Master of James IV of Scotland and the Maximilian Master. The calendar pages at the beginning of the manuscript are accompanied by illustrations of the labours of the months and zodiac signs completed in colour, as well as medallions in camaïeu of imitation gold. These medallions illustrate the lives of saints that have feast days listed in the calendar. The November page medallions depict All Saints; the soul in purgatory; St Martin of Tours; St Clement; St Catherine; and St Andrew. They are ordered by appearance in the calendar page from earliest (top) to latest (bottom), and the feast days are written in red ink to highlight them. The medallions also appear to imitate wood panel and the careful highlighting and shadow provides a 3-D relief effect, much like Giotto’s earlier fresco panels. These medallions are best seen close up: you can zoom in on their fascinating detail on our Digitised Manuscripts site here.

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Calendar page for November bordered by medallions in camaïeu depicting saints’ lives, from the Hours of Joanna I of Castile, Add MS 35313, f. 6v

 

Alison Ray

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05 April 2017

An illustrated Old English Herbal

Plant-based remedies were a major feature of Anglo-Saxon medicine. Thanks to our current digitisation project with the Bibliothèque nationale de France, funded by The Polonsky Foundation, one of the British Library’s earliest illustrated collections of such remedies has just been digitised.

A page from the Old English Herbal, showing illustrations of two plants and a snake.
Entries for chamomile and ‘hart clover’, from an illustrated Old English Herbal, England (? Christ Church Canterbury or Winchester), c. 1000–1025, Cotton MS Vitellius C III, f. 29v

This manuscript (Cotton MS Vitellius C III) is the only surviving illustrated Old English herbal, or book describing plants and their uses. (There are other, non-illustrated manuscripts of the same text, for example in Harley MS 585.) The text is an Old English translation of a text which used to be attributed to a 4th-century writer known as Pseudo-Apuleius, now recognised as  several different Late Antique authors whose texts were subsequently combined. The manuscript also includes Old English translations of Late Antique texts on the medicinal properties of badgers (framed as a fictional letter between Octavian and a king of Egypt) and another on medicines derived from parts of four-legged animals. Together, the herbal and the text on four-legged animals are now known as part of the so-called 'Pseudo-Apuleius Complex' of texts.

A page from the Old English Herbal, showing an illustration of a centaur presenting a book to two figures.
A man and a centaur presenting a book to a figure in a blue veil or hood, captioned 'Escolapius Plato Centaurus', from Cotton MS Vitellius C III, f. 19r

Each entry features an illustration of a plant or animal; its name in various languages; descriptions of ailments it can be used to treat; and instructions for finding and preparing it. Remedies for poisonous bites were marked out with drawings of snakes and scorpions. For instance, a snake appears near the entry for sweet basil, called ‘snake plant’ (naedderwyrt), because it was reported to grow where snakes were found and to be useful against injuries caused by snakes. 

A page from the Old English Herbal, showing an illustration of a 'Snakeplant'.
‘Snakeplant’, from Cotton MS Vitellius C III, f. 57r

Although it might seem like a practical guide to finding plants and preparing remedies, this manuscript's uses are debated. First, the illustrations are not always very useful for identifying plants and animals in the wild: take, for example, these depictions of strawberries and elephants.

A detail from the Old English Herbal, showing an illustration of a 'Streawberian' plant.
‘Streawberian’, from Cotton MS Vitellius C III, f. 33v

A detail from the Old English Herbal, showing an illustration of a monkey and an elephant.
A monkey and elephant, from Cotton MS Vitellius C III, f. 82r

Secondly, the texts include plants and animals from Mediterranean regions and beyond which are not known to be native to the British Isles, such as cumin and licorice. Scholars debate whether the Anglo-Saxons knew these plants through trade or whether the early medieval climate could have permitted such plants to grow in England. Alternatively, the scribes and artists could simply have copied them from their Mediterranean source. The text sometimes explicitly acknowledges that plants are best found in distant regions. For example, ‘dragonswort… is said that it should be grown in dragon’s blood. It grows at the tops of mountains where there are groves of trees, chiefly in holy places and in the country that is called Apulia’ (translated by Anne Van Arsdall, in Medieval Herbal Remedies: The Old English Herbarium and Anglo-Saxon Medicine (New York: Routledge, 2002), p. 154). The Herbal also includes mythical lore about some plants, such as the mandrake, said to shine at night and to flee from impure persons. To pick it, the text claimed you needed an iron tool (to dig around it), an ivory staff (to dig the plant itself up), a dog (to help you pull it out), and quick reflexes.

An illustration of a mandrake and a dog, from the Old English Herbal.
A mandrake, from Cotton MS Vitellius C III, f. 57v

However, while this manuscript’s exact uses are debatable, it continued to be used into the 16th century: later users added numbers to the table of contents, some recipes and variants of plants' names in Latin, Anglo-Norman French, and English. Eventually, a later copy of Peter of Poitiers’ Chronicle and a 9th-century copy of Macrobius’s Saturnalia were bound with the herbal. The volume may once have belonged to William Harvey (b. 1578, d. 1657), who discovered the circulation of blood. Some of his own recipes — featuring ‘licoris’, ‘cinemon’ and opium — are found at the end of the volume.

A 17th-century recipe for 'A Diet Drinke' by Peter Harvey, added to the Old English Herbal.
Recipe for ‘A Diet Drinke’ in the hand of William Harvey, 1624, Cotton MS Vitellius C III, f. 140v

__________

Le printemps s'annonce et en Angleterre les jardins commencent à renaître. La British Library vient de numériser un manuscrit rempli d’images de plantes (et d’animaux). Ce manuscrit (Cotton MS Vitellius C III) contient des textes médicaux attribués à Pseudo-Apulée: un herbier, qui précise les usages médicaux des plantes, et aussi un texte qui concèrne les usages médicaux des animaux. Tous ces textes sont traduits en vieil anglais.

Ce manuscrit est le seul exemple d’un herbier anglo-saxon illustré. Les images dépeignent les plantes et les animaux décrits dans le texte.  Cependant, les images des fraises et de l’éléphant révèlent un certain manque de vraisemblance de la part de l’artiste.

Malgré cela, plusieurs lecteurs ont utilisé ce manuscrit: il y a des additions dans des mains datant de l'onzième jusqu’au seizième siècle. Il est possible que William Harvey, le médecin qui a découvert les lois de la circulation du sang, l’ait possédé : des recettes médicales, dans sa propre main, se trouvent maintenant à la fin du manuscrit. Aujourd’hui, ce volume contient aussi une copie du Compendium historiae de Pierre de Poitiers.

 

Alison Hudson

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25 February 2017

The Art and History of Calligraphy

On Thursday, 2 March (19.00–20.30), professional calligrapher Patricia Lovett will be giving a talk at the British Library, entitled 'The Art and History of Calligraphy'. Patricia will be drawing from the Library’s rich collections of manuscripts to tell us about the art and history of calligraphy from her own practitioner’s perspective. Not only will her talk be accessible for a lay audience, but it will also offer insights that should interest experienced book historians. Patricia is able to identify in manuscripts aspects of the historical processes of writing that may not be obvious to academic audiences, such as when the quill was refilled, when it needed to be cut, how it was cut, and the relationship of the lettering to illumination.

Prudentia

Detail of a miniature of Prudence writing at her desk, with pupils before her, from Laurent d’Orleans, La somme le roi, France (Paris), 2nd quarter of the 14th century, Royal MS 19 C II, f. 48v

In her talk, Patricia Lovett will be showing some of the most extraordinary examples of historical scripts found in British Library manuscripts. She will illustrate how, from Roman times until the present day, different writing styles and materials have changed the ways in which letters were formed, and how this resulted in a range of scripts that men and women used to express their ideas and beliefs. (Her talk features the earliest example of a British woman’s handwriting!) Patricia will explain how the scribe of the Lindisfarne Gospels, writing around the year 700 at the monastery of Lindisfarne, created his beautifully decorated Insular script; how the approximately 20 scribes of the Moutier-Grandval Bible, working in 9th-century Tours, executed the then recently-developed Caroline minuscule; how scribes in subsequent centuries developed the much more narrow and angular Gothic script in some of the most sumptuous late medieval manuscripts (such as the Luttrell Psalter and the Bedford Hours); and how changes in writing style in Renaissance Italy resulted in the so-called humanistic script.

Lindisfarne   Bedford

The Evangelist Matthew writing his Gospel, England, c. 700, Cotton MS Nero D IV, the Lindisfarne Gospels, f. 25v (left). St Jerome writing the Vulgate, France, c. 1410 – 1430, Add MS 18850, the Bedford Hours, f. 24r (right).

You also get a chance to see Patricia at work: after her talk she will be signing copies of her new British Library book calligraphically!

 

Patricia Lovett, 'The Art and History of Calligraphy'

The British Library

Thursday, 2 March 2017, 19:00–20:30

 

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01 January 2017

A Calendar for January 2017

Every year we feature a different calendar on the Medieval Manuscripts Blog. This year is no exception: the seventh calendar in our series is the fabulous Additional MS 36684, a Book of Hours of the Use of Saint-Omer. This Book of Hours is a delightfully unique manuscript (as explored in our previous blogposts: Apes Pulling Shapes and Something for Everyone), sure to see us through 2017 in style.  It is quite different to last year’s Bedford Hours and we’re looking forward to highlighting the amusingly idiosyncratic decorative elements in the calendar. You can read more about calendars in general in our introduction to our first calendar of the year, back in 2011.

Fig 1_add ms 36684 ff 1v_2r

Calendar pages for January, Additional MS 36684, ff. 1v–2r

Additional MS 36684 was created in approximately 1320 in north west France, most likely in Saint-Omer or Thérouanne. We know that the manuscript was probably made in this area because of entries in the calendar, which often included the feast days of local saints. In this case, the calendar displays the dedication of St Omer (‘Sancti audomari') on his feast day, 17 October.

Fig 2_add_ms_36684_f011r St Omer dedication

Dedication of St Omer, detail of calendar page for October, Additional MS 36684, f. 11r

This Book of Hours is distinctive for its imaginative decoration, which is extremely diverse; there are hardly any repeated figures, and hybrid animal-humans and fantastic beasts adorn the decorative borders on each folio. The human figures are particularly distinctive for the bright orangey-pink painted circles on their cheeks and marking their mouths.

Fig 3_add_ms_36684_f001v base de page detail

Hybrid beasts, detail of January calendar page, Additional MS 36684, f. 1v

The calendar is placed at the beginning of the manuscript, taking up the first thirteen folios. Each month is given two folios: the verso of one and the recto of the next. Both are highly decorated, with a border incorporating creative beasts and creatures and two different miniatures, one displaying the zodiac sign and the other the labour of the month, which is the seasonal activity associated with that month. Every month begins with a large gilded double-initial ‘KL’, for ‘Kalendarius’.

The folios for January, which fall on f. 1 verso and f. 2 recto, begin with the entries of saints, and there are even small faces drawn into the gilded letters at the start of some of the names.

Fig 4_add_ms_36684_f001v faces

Faces in initials, detail of January calendar page, Additional MS 36684, f. 1v

The illustration of January’s labour of the month depicts the typical activity of feasting, but with the addition of the two-faced Roman god Janus. Janus was traditionally thought to be the namesake of the month, although it is more likely it was named for the goddess Juno instead. He is pictured inside a tiny castle against a gold backdrop.

Fig 5_Add MS 36684_f001v_Janus detail

Janus feasting, detail of January Calendar page, Additional MS 36684, f. 1v

The miniature on the facing folio is the zodiac sign associated with January, Aquarius, drawn as a nude male figure holding a jug of water. Aquarius is usually pouring the water out from the jug (compare it to the Bedford Hours version) but has here apparently already emptied it. An architectural border frames the outdoor scene (notice the green grass!), but with the addition of two hybrid creatures – human heads topped by tall hats perched on the legs of what appears to be a large cat, tails curling through the legs to extend out into the margin.

Fig 6_add_ms_36684_f002r Aquarius

Aquarius, detail of January calendar page, Additional MS 36684, f. 2r

We could go on about the different faces in these pages, but we’ll leave it to you – how many animals/hybrid figures can you spot?

Additional MS 36684 can be viewed online in its entirety on Digitised Manuscripts. The second half of the manuscript is in the Pierpont Morgan Library in New York City, as MS M. 754, which you can see here. Check back on 1 February for the next calendar page!

Taylor McCall
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01 December 2016

A Calendar Page for December 2016

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

Add_ms_18850_f012r
Calendar page for December from the Bedford Hours, France (Paris), c. 1410-1430,
Add MS 18850, f. 12r

The calendar pages for the month of December in the Bedford Hours are filled with golden-lettered saints’ and feast days, fitting for this month of celebration. 

Add_ms_18850_f012r_detail1
Detail of miniatures of a man killing a pig and the zodiac sign Capricorn, from the calendar page for December,
Add MS 18850, f. 12r

In November we saw pigs gorging themselves on acorns, but the day of reckoning is at hand in December.  On the lower left of the first folio for this month is a miniature of a peasant about to slaughter a fattened hog, raising an enormous cudgel above his head.  The hog on the ground looks slightly concerned about the situation it finds itself in (but probably not nearly enough).  On the right is a lovely goat-snail hybrid sitting at east in a landscape, for the zodiac sign Capricorn. 

Add_ms_18850_f012r_detail2
Detail of a marginal roundel of the ‘monarche du monde’, from the calendar page for December,
Add MS 18850, f. 12r

On the middle right of the folio is a miniature of a crowned and bearded man, holding an orb and a sword.  He is described in the banner above him as the ‘monarche du monde’ (emperor of the world).  The rubrics describe how December is ‘named from the number decem (ten)’ and is dedicated to the ’10 principal kings who the Romans had dominion over’.   These ten dominions, which included Greece, Persia, Chaldea, Egypt, Syria and Italy, are illustrated by the ten segments of the landscape in which the Emperor is standing (or hovering, really).

Add_ms_18850_f012v
Calendar page for December,
Add MS 18850, f. 12v

More on this glorious month follows.  Among the remainder of the saints’ days for December (including an un-erased feast of St Thomas Becket, interestingly) are two final marginal roundel paintings.  On the middle left is a scene of pleasure: in the foreground some lords and ladies are feasting while behind them two gloriously-attired knights are tilting at each other.  The rubrics at the bottom of the folio tell us how during the month of December ‘knights performed jousts and lived deliciously because the country was at peace’.  A lovely image.   The rubrics go on to describe how ‘Seneca teaches that in the month of December one should live soberly’, and the final miniature appears to depict Seneca instructing a group of men (including a king) thusly.  It has to be said, however, that while Seneca’s audience appears less than overwhelmed with enthusiasm for his advice. 

Add_ms_18850_f012v_detail1
Add_ms_18850_f012v_detail2
Detail of marginal roundels of aristocratic pleasures and Seneca speaking to people, from the calendar page for December,
Add MS 18850, f. 12v

May you have a very happy December and all the best in the new year!

-   Sarah J Biggs (with many thanks again to Chantry Westwell for her French translations!)

07 November 2016

Picturing the Sacred: Byzantine Manuscript Illumination

Some of the British Library’s most precious manuscripts are those containing beautiful miniatures from the Byzantine world. The majority of these manuscripts are religious in focus, usually Gospels or Psalters, reflecting the central role played by Christianity in the Byzantine Empire. The Byzantine court functioned as a theocracy, in which the Emperor was seen as God’s representative on earth, acting with divine authority. Religion infused every aspect of Byzantine life, including book production.

Although it is difficult (and somewhat artificial) to distinguish between late antique and early Byzantine art, a useful starting-point is the splendid Golden Canon Tables. Created in Constantinople in the 6th or 7th century, the manuscript is covered in gold paint, over which the Canon Tables (used to identify parallel passages between the four Gospels in biblical manuscripts) were written, and adorned with floral decoration and small medallions containing portraits of four men. Although they survive only as fragments, they would originally have formed part of an incredibly lavish copy of the Gospels, a testament to the importance of the Bible for the inhabitants of Constantinople at this time.

A parchment page painted entirely in gold and decorated with canon tables, including a portrait of a male figure.

The Golden Canon Tables. Add MS 5111/1, f. 11r. Constantinople, 6th or 7th century.

The Iconoclastic period (726–842 CE) saw the destruction of many existing works of religious art, and a ban on the production of any new works of art. The prohibition on graven images in the Bible was a source of concern for Christian thinkers in late antiquity and early Byzantium, who worried about the propriety of producing depictions of Jesus and other holy figures. This concern was particularly felt in Byzantium owing to the particular emphasis placed on icons in religious worship there (an emphasis that is still found in the Greek Orthodox tradition today). The impact of iconoclasm has meant that relatively few examples of early Byzantine illumination survive, and those that do, like the Golden Canon Tables, are thus even more precious to us today.

A page from the Theodore Psalter, showing an illustration of Iconoclasts.

Depiction of Iconoclasts in the Theodore Psalter. Add MS 19352, f. 27v. Constantinople, 1066.

After the prohibition on the production of religious art was lifted for the final time in 842, we see the reappearance of illuminated Biblical manuscripts. A number of illuminated Psalters (discussed in more detail in an article by Kalliroe Linardou) actually include images of iconoclasts erasing icons of Jesus. Such images can be found in the Theodore Psalter. On occasion, later owners of the manuscripts have erased the faces of the iconoclasts themselves!

A great emphasis was placed on tradition in Byzantine art. This is why, for instance, there is such great similarity between portraits of the Evangelists in Gospel manuscripts. Yet this stress on tradition also provided an opportunity for artists to distinguish themselves in more subtle ways, and there is clear variation in Byzantine illumination across the Greek-speaking world, as Elisabeth Yota shows in her article on provincial manuscript illumination. Some Greek manuscripts were illuminated by artists from different traditions, as is the case with Harley 5647, in which the portraits were made by a Syriac artist. Comparison of this with, for instance, the portraits in the Guest-Coutts New Testament, show both the strong tradition in terms of how figures are depicted and the room for innovation that was possible. Further examples can be found in Kathleen Maxwell’s article on illuminated Gospel manuscripts.

A page from a manuscript of the Four Gospels, showing an illustration of the Evangelist St Luke.

 The Evangelist Luke, by a Syriac artist. Harley MS 5647, f. 137v. Eastern Mediterranean, 11th century.

A page from the Guest-Coutts New Testament, showing an illustration of the Evangelist St Luke.

The Evangelist Luke, in the Guest-Coutts New Testament. Add MS 28815, f. 76v. Eastern Mediterranean (Constantinople), mid-10th century.

There are more fantastic illuminated Greek manuscripts than we can possibly hope to talk about in a single blog post, so we invite you to explore the collections and articles available on our Greek Manuscripts Project Website, and the many manuscripts available on Digitised Manuscripts!

 Cillian O'Hogan

@BLMedieval/@CillianOHogan

01 November 2016

A Calendar Page for November 2016

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

Add_ms_18850_f011r
Calendar page for November from the Bedford Hours, France (Paris), c. 1410–1430,
Add MS 18850, f. 11r

Winter is beginning to close in on the calendar pages for November from the Bedford Hours. 

Add_ms_18850_f011r_detail1
Detail of miniatures of a man feeding pigs and the zodiac sign Sagittarius, from the calendar page for November,
Add MS 18850, f. 11r

November saw a pause in the agricultural calendar of the medieval era, and so in this month we often see different sorts of labours.  A common one can be found at the bottom of the first folio for this month; in the miniature on the lower left a man is at work beating acorns from a tree with two sticks. Below him a group of three hogs are feasting on the acorns, a delicacy given to them at this time to fatten them up for winter. To the right is a centaur archer, charmingly dressed in a gorgeous surcoat, for the zodiac sign Sagittarius.

Add_ms_18850_f011r_detail2
Detail of a marginal roundel of the Nine Muses, from the calendar page for November,
Add MS 18850, f. 11r

On the middle right of the folio is a miniature of a group of nine women surrounding a stream and pool of water. The banners they carry identify them as the Nine Muses, the Greek goddesses of inspiration for science and the arts that were later adopted into the Greek pantheon. In some versions of their myths they are described as water nymphs, and in one origin story they were born from four sacred rivers which Pegasus caused to spring forth — a possible explanation for the landscape of this miniature. Rubrics at the bottom of the folio tell us that November ‘is attributed to the nine wisdoms’ because of the number nine.

Add_ms_18850_f011v
Calendar page for November,
Add MS 18850, f. 11v

The emphasis on the Muses continues in the following folio. On the middle left an armoured man is mounted on a winged horse that has one foot (somewhat gingerly) in the waters of a fountain or pool. The rubrics tell us that this man is Perseus, and the horse must therefore be Pegasus; we may be seeing a scene of the birth of the Muses. At the bottom of the folio the Muses themselves are in evidence beside their spring, kneeling before a well-dressed lady. This is intended to represent Athena on her visit to ‘the font of wisdom’, although this aristocratic and almost matronly version of the goddess is an unusual one.  


Add_ms_18850_f011v_detail1
Add_ms_18850_f011v
Detail of marginal roundels of Perseus and Pegasus and Athena and the Muses, from the calendar page for November,
Add MS 18850, f. 11v

Sarah J Biggs

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