Medieval manuscripts blog

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161 posts categorized "Early modern"

25 October 2021

More Harley manuscripts online

Two years ago, we announced that we had started to revise the online descriptions of manuscripts in the British Library's Harley collection. At that point, back in May 2019, relatively few of the Harley manuscripts were included in our Archives and Manuscripts catalogue (searcharchives.bl.uk), and so readers had to rely in most part on the entries in the old published catalogue, printed in 1808–12.

A page from an illuminated manuscript, decorated in blue, yellow, red and other colours, depicting the Tree of Jesse, and with a decorated border including flowers, a bird, and a butterfly

Miniature of the Tree of Jesse at the beginning of Psalm 1 (Rouen, around the 1490s, with additions made in England or the southern Netherlands): Harley MS 1892, f. 31v

Today, we can tell you that more than 3,500 Harley manuscripts, charters and rolls can now be found in our online catalogue, the result of many months of patient research and cataloguing, much of it done under the pressures of lockdown. Given that there are more than 7,600 Harley manuscripts, there is still some way to go, but a significant number of those written before the year 1600 (and many written after that date) now have updated records. You can read more about the Harley collection in our online guide.

A text page written in Irish, in Irish script, with larger letters in black marking the beginning of new paragraphs

A page at the beginning of An Senchas Már (Ireland, c. 1578): Harley MS 432, f. 4r

So which manuscripts have been added to our catalogue most recently? A brief list of their contents will give you some flavour of the range of the Harley collection, and the complexities of providing modern, accurate entries for them. For example, Harley MS 432 contains An Senchas Mára 16th-century legal text written in Irish. We know that its scribe was Gilla na Naem Ó Deoráin, according to an inscription in ogham on f. 14r, and he was writing at Aninsi art Labadrais, possibly Inch Saint Lawrence (Co. Limerick). Harley MS 4775 contains the Gilte Legende, a Middle English prose translation of the Legenda Aurea. Its scribe was 'Ricardus Franciscus', who may have copied the text directly from another manuscript, now Oxford, Bodleian Library, MS Douce 372. Harley MS 4313 is a formulary for legal process in the Court of Arches at London, begun in the 1560s, and is typical of the sorts of administrative manuscripts that most interested Robert Harley, Lord High Treasurer under Queen Anne, and his son, Edward. Harley MS 1892, in turn, is a beautiful illuminated Psalter, made in Rouen in the late-15th century for an English patron, and subsequently heavily refurbished.

A decorated page from an illuminated manuscript, with the text arranged in 2 columns and with gold initial introducing different sections of text

A page from the Gilte Legende (London, middle of the 15th century): Harley MS 4775, f. 237r

The credit for cataloguing the pre-1600s Harleys over the past 18 months should go to Clarck, Calum, Ellie, Peter, Kathleen, Seosamh, Chantry and other members of the Ancient, Medieval and Early Modern Manuscripts team. Despite the issues brought on by Covid, they were able to produce draft Harley records in many instances, which were then enhanced and completed when they returned to the office. We hope that this in turn will support other people's research and pleasure, and that it leads to us gaining a better understanding of medieval and early modern manuscript culture.

You can search for the Harley manuscripts on our online catalogue, and you can also browse the collection available so far.

 

Julian Harrison

Follow us on Twitter @BLMedieval

08 October 2021

Elizabeth and Mary, Royal Cousins, Rival Queens: Curators’ Picks

Elizabeth and Mary: Royal Cousins, Rival Queens, the first major exhibition to consider Elizabeth I and Mary, Queen of Scots, together, is now open at the British Library. After the delays, challenges and uncertainties of the last 18 months, the curatorial team is delighted to see the exhibition finally come to fruition and to welcome the public to it! To mark this event, Alan, Anna, Karen and Andrea have each selected a personal highlight from the show.

Alan writes, 'One of the most unprepossessing objects on display in the exhibition is a small letter. You might walk past it, having given it barely a glance. However, it is among four letters recently discovered in the British Library, all written by Elizabeth before she became queen. Such letters are comparatively rare. And this one, written from Enfield on 31 December 1547, to ‘M[aste]r Cycell attendinge vpon the Lorde Protector’, is more important than it at first might appear. In her letter Elizabeth petitioned one of the rising stars in government, William Cecil, to ‘commend’ her servant Hugh Goodacre to Edward Seymour, who was the lord protector during the minority reign of Edward VI. Cecil would become Elizabeth’s most trusted minister as queen. This letter is their first known contact, written when she was 14. Significantly, it shows how they were already bound together by their shared Protestant faith. It is also one of the earliest examples of Elizabeth’s famous italic signature.'

A letter written by Princess Elizabeth to Robert Cecil, with her signature in the upper left-hand corner

Letter addressed by Princess Elizabeth to William Cecil, 31 December 1547: Add MS 70518, f. 11r

Anna has selected as her favourite item the 1558 ‘false arms’ of Mary, Queen of Scots, and her husband, the French dauphin François. 'Not only is it visually stunning, with bold colours that will catch the eye of any passing visitor, but it also illustrates the issue of the English succession that underpinned the personal and political rivalry between Mary and Elizabeth for almost three decades. As a great granddaughter of Henry VII and Elizabeth of York, Mary had a strong claim to the English and Irish thrones. Following Elizabeth’s accession in 1558, François and Mary began quartering the arms of England with their own and styling themselves ‘King and Queen Dauphins of Scotland, England and Ireland’. This act of provocation originated the distrust between Elizabeth and Mary that would culminate in Mary’s execution in 1587 for plotting Elizabeth’s death in order to seize the throne.'

A manuscript illustration of the coat of arms of Mary, Queen of Scots, and her husband, coloured in red, yellow and blue

The arms of Mary, Queen of Scots and the French dauphin, and of Scotland, France and England, sent from France, July 1559: Cotton MS Caligula B X/1, ff. 17v–18r

Karen has chosen the papal bull, known as Regnans in Excelsis, which was issued by Pope Pius V and printed in Latin in February 1570. 'Written in support of the Northern Rebellion, it proved too late to affect its outcome. The decree, calling Elizabeth ‘the pretended Queen of England’, excommunicated her from the Catholic Church and threatened her Catholic subjects with the same fate should they disobey the pope. This created a problem for English Catholics: should they be loyal to the queen or to the pope? The papal bull is one of a number of books and broadsides displayed in the exhibition to show the importance of printing at the time and its ability to spread information far and wide. It is not clear how far the bull circulated in England, but it is possible that Mary, who had been in captivity in England for about two years by this point, saw a copy of it.'

A page from a printed item issued by Pope Pius V in 1570

S.D.N. Pii Papæ V. Sententia declaratoria contra Elisabeth prætensam Angliæ Reginam, Rome?, 1570: C.18.e.2.(114*).

For her curators' pick, Andrea has chosen a letter written by Mary to Elizabeth in May 1568 following her deposition as Queen of Scots, her escape from captivity and subsequent flight across the English border. 'Writing in her native French tongue, Mary describes the treasonable actions of her enemies, who ‘have robbed me of everything I had in the world’ and expresses her confidence in Elizabeth ‘not only for the safety of my life, but also to aid and assist me in my just quarrel’. Describing herself as Elizabeth’s ‘very faithful and affectionate good sister, cousin and escaped prisoner, Mary begs for an audience; ‘I entreat you to send to fetch me as soon as you possibly can’, for ‘I am’, she bemoans, ‘in a pitiable condition, not only for a queen, but for a gentlewoman, for I have nothing in the world but what I had on my person when I made my escape, travelling sixty miles across the country the first day, and not having since ever ventured to proceed except by night, as I hope to declare before you if it pleases you to have pity, as I trust you will, upon my extreme misfortune.’'

A handwritten letter of Mary, Queen of Scots, addressed to Queen Elizabeth I

Letter from Mary, Queen of Scots, to Elizabeth I, 17 May 1568, Workington, Cumberland: Cotton MS Caligula C I, f. 94v

The exhibition explores how Mary’s arrival on English soil plunged Elizabeth and her government into a political predicament that would not end until Mary’s execution in 1587. On display is a magnificent array of letters and papers, books, maps, paintings, sculptures, textiles and jewellery, creating a tangible connection to unfolding events and inviting visitors to step back into a world of religious turmoil, espionage, treason and war.

 

Elizabeth and Mary: Royal Cousins, Rival Queens 

The British Library, London

8 October 2021–20 February 2022

 

Alan Bryson, Andrea Clarke, Karen Limper-Herz and Anna Turnham

Follow us on Twitter @BLMedieval and @BLprintheritage

24 August 2021

Elizabeth and Mary: Royal Cousins, Rival Queens

Tickets are now on sale for the British Library’s major exhibition Elizabeth and Mary: Royal Cousins, Rival Queens (8 October 2021–20 February 2022). This will be the first exhibition to consider Elizabeth I and Mary, Queen of Scots together, putting both women centre stage and giving them equal billing.

Using original documents and contemporary published sources, the exhibition will take a fresh and revealing look at the extraordinary story of two powerful women, bound together by their shared Tudor heritage and experience as fellow sovereign queens, but divided by their opposing Protestant and Catholic faiths and their rivalry for the English and Irish thrones.

Elizabeth I’s signature
Detail showing Elizabeth I’s signature: British Library, Cotton MS Caligula C I, f. 367r
 
Mary, Queen of Scots’ signature
Detail showing Mary, Queen of Scots’ signature: British Library, Cotton MS Caligula C I, f. 94v

Despite their fates being intertwined, the two queens never met in person. Instead, their relationship was played out at a distance, much of it by letter. These thrilling documents, written in their own hands and recording their speeches, lie at the heart of the exhibition and will enable visitors to step back into their world and understand how, from amicable beginnings, Elizabeth and Mary's relationship turned to suspicion, distrust and betrayal. 

The exhibition will demonstrate how the queens’ relationship also reflected a much broader story. It will explore the context of the religious reformation that divided Europe between Catholics and Protestants, revealing how Elizabeth and Mary’s battle, first for dynastic pre-eminence within the British Isles, and then for survival, became inseparable from the national religious struggles of their respective kingdoms. The exhibition will further show how the queens’ rivalry over the throne profoundly shaped England and Scotland’s relations, both with each other, and with France and Spain.

Elizabeth and Mary will highlight the rise of state surveillance and the development of a sophisticated intelligence network during a time of plots, treason and rebellion, and the ever-present fear of international conspiracy and foreign invasion.

At the core of the exhibition will be highlights from the British Library’s outstanding collection of 16th-century royal autograph manuscripts, historical documents, printed items, maps and drawings. These will be accompanied by a number of exceptional paintings, objects, jewellery and textiles borrowed from collections across the UK.

To whet your appetite, here is a small selection of some of the items that will be on display: 

• Elizabeth’s handwritten trilingual translation of Katherine Parr’s Prayers and Meditations (1545), which was a gift for her father Henry VIII: British Library, Royal MS 7 D X

Elizabeth’s handwritten trilingual translation of Katherine Parr’s Prayers and Meditations (1545)

• Elizabeth I’s mother of pearl locket ring (c. 1575), which opens to display miniature portraits of herself and her mother Anne Boleyn: ©The Chequers Trust

Queen Elizabeth’s locket ring  c.1575 (c) The Chequers Trust

• Bird’s-eye view map of London, Westminster in Middlesex, and Southwark in Surrey, by William Smith, 1588: British Library, Sloane MS 2596, f. 52*r

Bird’s-eye view map of London, Westminster in Middlesex, and Southwark in Surrey, by William Smith, 1588

• Richard Lee, bird’s-eye view of Edinburgh (May 1544): British Library, Cotton MS Augustus I II 56

Richard Lee, bird’s-eye view of Edinburgh (May 1544)

• Letter written by Mary, Queen of Scots, to Elizabeth I to announce her arrival on English soil (1568): British Library, Cotton MS Caligula C I, f. 94v

Letter written by Mary, Queen of Scots, to Elizabeth I to announce her arrival on English soil (1568)

• Portrait of Elizabeth I, attributed to George Gower, 1567: © Private collection

Elizabeth I attributed to George Gower  c.1567  on loan to the exhibition from a Private Collection

• Elizabeth I’s speech dissolving parliament in 1567, in which she attacked MPs' questions about the succession as ‘lip-laboured orations out of such jangling subjects’ mouths’: British Library, Cotton Ch IV 38 (2)

Elizabeth I’s speech dissolving parliament in 1567

• Rare printed copy of the papal bull known as Regnans in Excelsis, issued in Latin in 1570, announcing Elizabeth I’s excommunication on grounds of heresy: British Library, 18.e.2.(114*)

Rare print survival of the papal bull known as Regnans in Excelsis, issued in Latin in 1570

• Ciphered letter from Mary, Queen of Scots, to Thomas Howard, 4th Duke of Norfolk (1570): British Library, Cotton MS Caligula C II, f. 74r

Ciphered letter from Mary, Queen of Scots, to Thomas Howard, 4th Duke of Norfolk (1570)

• Mary, Queen of Scots’ longest letter, sent to Elizabeth I to complain about her sufferings in prison (1582): British Library, Cotton MS Caligula C VII, f. 81v

Mary, Queen of Scots’ longest letter, sent to Elizabeth I to complain about her sufferings in prison (1582)

• Cipher used by Mary, Queen of Scots, to communicate with Anthony Babington (1586): ©The National Archives, Kew, SP 12/193/54, f. 123r

Cipher used by Mary, Queen of Scots, to communicate with Anthony Babington (1586)

• The Blairs Reliquary, containing a portrait miniature of Mary, Queen of Scots (1586, framed 1610–22) © The Scottish Catholic Heritage Collections Trust (Blairs Museum)

The Blairs Reliquary (front), containing a portrait miniature of Mary, Queen of Scots

• Robert Beale’s eye-witness drawing of Mary, Queen of Scots’ execution (1587), depicting her entering the hall, disrobing, and placing her head on the block: British Library, Add MS 48027, f. 650*r

Robert Beale’s eye-witness drawing of Mary, Queen of Scots’ execution (1587)

• Drawing of Elizabeth’s funeral procession (early 17th century): British Library, Add MS 35324, f. 37v

Drawing of Elizabeth’s funeral procession (early 17th century)

• James VI, Basilikon doron (1599), written for Prince Henry, on successful kingship and printed in Edinburgh: British Library, G.4993., sig. [A]3v–[A]4r

James VI, Basilikon doron (1599)

The exhibition will be accompanied by a richly-illustrated catalogue, edited by Professor Sue Doran, and available for purchase from the Library’s online shop from 8 October.

The cover of the illustrated catalogue, edited by Professor Sue Doran

A full programme of public lectures, talks, panel discussions and cultural events will also accompany the exhibition.  Tickets for the first three events are now on sale:

Elizabeth and Mary: Royal Cousins, Rival Queens will be on show at the British Library from 8 October 2021 to 20 February 2022. For more information and tickets, visit https://www.bl.uk/events/elizabeth-and-mary.

 

Andrea Clarke

Follow us on Twitter @BLMedieval

05 August 2021

A mariner's handbook from the library of Sir Walter Raleigh

Sir Walter Raleigh (b. 1552, d. 1618) was a pivotal figure in the history of Elizabethan England. A spy, a soldier and an infamous favourite of the Tudor queen, he is perhaps best known as an explorer who founded colonies in the New World and who supposedly brought back tobacco to England. But Raleigh was also a prolific poet and writer, who collected hundreds of books and manuscripts in his lifetime. We have now digitised one of his prized possessions, a rare finely illuminated mariner’s handbook, originally made in Portugal in the 16th century.

A 16th-century portrait of Sir Walter Raleigh, wearing a fur-lined cloak, decorated with pearls, with a crescent moon in the top left-hand corner.
Sir Walter Ralegh (Raleigh) by an unknown English artist; oil on panel, 1588; NPG 7 (© National Portrait Gallery, London)

The manuscript (now Cotton MS Tiberius D IX) is known as the Roteiro do Mar Roxo, literally meaning ‘Rutter of the Red Sea’ in Portuguese. A rutter is a type of nautical handbook that gives guidance about various aspects of the art of sailing. Navigators from across Europe compiled their own versions of these handbooks throughout the 16th century.

The contents of surviving rutters vary considerably. Many are devoted to collections of maps, naval charts, and astronomical and mathematical tables that were used to plot a course or calculate the relative position of a ship at sea. Others contain information relating to the movement of the tides, instructions on how to use navigational instruments, and how to repair damaged ships, as well as logbooks and itineraries of notable journeys made to the far side of the world. Some even include suggestions on how to avoid dangerous coral reefs, and lists of cures for diseases caught by crewmembers during a voyage. In essence, these books had everything you might have needed to navigate the oceans successfully: an invaluable resource for any sailor or explorer.

The title page of the Roteiro do Mar Roxo, with headings and initials in red ink, partially damaged by fire.
The title page of De Castro’s Roteiro do Mar Rozo: Cotton MS Tiberius D IX, f. 5v

The Roteiro do Mar Roxo was made by the Portuguese nobleman João de Castro (b. 1500, d. 1548) during his 1541 expedition to Suez under Estêvão da Gama (b. c. 1505, d. 1576). By the 16th century, this region had long been established as the site of a major trade route between Europe and the Middle East, which the Portuguese and other European powers sought to control. De Castro’s work is principally devoted to an account of his voyage, supplemented with a wealth of nautical and geographical information, including observations of the islands and surrounding landscape he and his companions discovered, and notes and descriptions of coastlines, ports, and bays found along the Sinai Peninsula.

One of the highlights of de Castro’s account is a series of finely painted watercolour illustrations and charts (known as tabuas) that accompany the text, which are thought to have been originally drawn by the Portuguese nobleman while on-board his flagship.

An opening from the Roteiro do Mar Roxo, showing a view of an island, with a fleet of ships in the foreground and by the shore.
A view of an unidentified coast of Socotra Island, near the Arabian Sea, from the Roteiro do Mar Roxo: Cotton MS Tiberius D IX, ff. 11v-12r

Many of the illustrations are meticulously observed, recording not only the various topographic features of the islands and landscapes the fleet passed but also views of ports and cities on their journey. In the chart below, De Castro includes a depiction of the port of Suakin in Sudan, showing his fleet moored around it.

Text: A detail from the Roteiro do Maro Roxo, showing a watercolour illustration of a port city, with various fleets moored around it.
A depiction of the port of Suakin in Sudan, from the Roteiro do Mar Roxo: Cotton MS Tiberius D IX, f. 36v

The Portuguese expedition fleet was comprised of 12 large galleons and carracks and at least 60 galleys, many of which are featured in De Castro’s illustrations. The ships are painted in minute detail, providing us with an invaluable insight into early modern naval design, with De Castro accounting for everything, from their sails, oars, and rigging, to the banners and heraldry flying from their masts, while tiny figures of sailors are shown clambering over the decks.

A detail from the Roteiro do Mar Roxo, showing a Portuguese galleon, with sailors climbing on the decks and rigging, and furled sails.
A galleon in the Portuguese fleet, depicted in the Roteiro do Mar Roxo: Cotton MS Tiberius D IX, f. 11v
A detail from the Roterio do Mar Roxo, showing three galleys, their oars in the water, and two with their sails aloft.
Galleys depicted by De Castro in his Roteiro do mar Roxo: Cotton MS Tiberius D IX, f. 14v

De Castro also included depictions of other ships and fleets the company encountered during their voyage, most notably those belonging to the Ottoman Empire, a major rival for Portuguese power in the Mediterranean. Here, the Portuguese fleet is shown encountering the Ottoman forces around the Strait of Suez, with a land battle ensuing soon after.

A detail from the Roteiro do Mar Roxo, showing a fleet moored at a port, the Portuguese army engaged with the forces of the Ottoman Empire.
The Portugueuse company in battle with the army of the Ottoman Empire, from a view of part of the Strait of Suez: Cotton MS Tiberius D IX, f. 76r

The Cotton volume is one of only two manuscripts of the Roteiro to survive from the 16th century (the other is now housed at the James Ford Bell Library, at the University of Minnesota). Its layout, illustrations, and delicately written script all suggest that it served as the presentation copy of the work, gifted by de Castro to the Infante Luis (b. 1506, d. 1555), younger brother of the Portuguese king, to whom he also dedicated the text.

The story of the manuscript’s subsequent journey from Portugal to England remains a mystery, though some have speculated that it was seized from a Portuguese ship during a battle with English privateers towards the end of the 16th century. At the very least, we know that by the early 1600s it had come into the possession of Sir Walter Raleigh, who apparently bought it in London for £60, a small fortune at that time.

A page from the Roteiro do Mar Roxo, showing De Castro’s dedication to Infante Luis, with headings in red ink and an initial in gold.
De Castro’s dedication of the work to Infante Luis: Cotton MS Tiberius D IX, f. 3r

That Raleigh was willing to spend so much on the volume is unsurprising, as he was an avid collector of manuscripts, printed books, maps, and sea charts. His notebook (now Add MS 57555), written when he was put in the Tower of London by King James I in 1606, contains an alphabetised shelf-list and inventory of the hundreds of volumes that made up his library, many of which accompanied him during his imprisonment. It also includes a series of comprehensive notes and hand-drawn maps that he used to write his History of the World, in Five Books, first published in London in 1614. There is even an annotated sketch of the Red Sea itself, its inclusion perhaps inspired by the Portuguese Roteiro Raleigh had purchased for his collection.

A page from the notebook of Sir Walter Raleigh, with a map of the Red Sea, painted in watercolour.
A page from the notebook of Sir Walter Raleigh, showing a map of the Red Sea and the surrounding Sinai Peninsula: Add MS 57555, f. 23v

Raleigh actually makes a reference to his copy of De Castro’s Roteiro in his History of the World, and this lends us an important clue as what happened to the volume in the years that followed. The explorer states that he had given the rutter to Richard Hackluyt (b. 1553, d. 1616), apparently with an instruction to adapt and publish an English paraphrase of the text. At the time, Hackluyt was an editor, translator, and travel writer, whose works were well-known for promoting the English colonisation of America.

However, Hackluyt did not complete Raleigh’s project and it seems that the Roteiro never returned to the library of its former owner. After Hackluyt's death in 1616 and Raleigh’s execution on the order of James I in 1618, Hackluyt’s son Edmond inherited the manuscript and he subsequently gave it into the keeping of the antiquary Sir Robert Cotton. Unfortunately, the Roteiro suffered the fate of many of the manuscripts in Cotton’s collection and was heavily burned in the Ashburnham House Fire in 1731, though thankfully much of the text and many of De Castro’s watercolour illustrations did survive intact. The volume can now be read in full on our Digitised Manuscripts site.

Calum Cockburn

Follow us on Twitter @BLMedieval

19 July 2021

Dürer in the Low Countries

Five hundred years after the artist Albrecht Dürer (1471–1528) travelled through the Low Countries, the exhibition “Dürer was here. A journey becomes legend” has opened at the Suermondt-Ludwig-Museum in Aachen, Germany. Drawing on the detailed travel journal that Dürer kept, the exhibition reconstructs the artist’s journey, with a particular focus on the time he spent in Aachen in 1520 when he attended the coronation of Emperor Charles V.

The British Library is delighted to have loaned the only surviving page-fragments from Dürer’s original journal to the exhibition, where they are displayed with an early copy of the complete text, loaned by the Staatsbibliothek in Bamberg. The first British Library fragment shows two sketches of a piece of folded cloth with instructions on how to make a type of woman’s cloak worn in the Low Countries.

Page from Dürer's original diary showing two patterns for a type of woman’s cloak worn in the Low Countries, 1520

Page from Dürer's original journal, 1520: Add MS 5229, f. 50r

The second fragment contains two sketches of the Coat-of-Arms of Lorenz Staiber (1485/6–1539), writer, orator and patrician of Nuremberg, and mentioned by Dürer in his journal. The sketches are thought to have been made in preparation for a woodcut.  

Page from Dürer's original diary showing two sketches of the Coat-of-Arms of Lorenz Staiber, 1520-21

Page from Dürer's original journal, 1520-21: Add MS 5229, f. 59r

Dürer used his journal to document his itinerary, diet, expenses and earnings, and to record noteworthy sights, encounters with fellow artists, and meetings with influential individuals and patrons. The journal also mentions around 120 portrait drawings and a small number of paintings that Dürer produced and either sold or gifted during his travels. Now widely dispersed, the exhibition brings together many of these masterpieces, as well as works by some of the artists whom Dürer met and inspired on the way.

In addition to his extraordinary artistic abilities, Albrecht Dürer possessed a lifelong fascination with artistic theory. From about 1500 he became increasingly absorbed by his studies on the techniques and underlying principles of art and in particular on the correct depiction of the human body. The British Library holds four volumes of Dürer’s research notes, which relate overwhelmingly to his studies on human proportion. They contain numerous mathematically constructed drawings of men, women and children, accompanied by precise measurements and detailed notes in German on the correct construction of the human figure.

The sheet below is dated 1513 and bears Dürer’s characteristic ‘AD’ monogram. It shows a proportion drawing of a male nude with detailed measurements. Dürer has used a framework of vertical and horizontal lines to calculate the dimensions of different sections of the body as fractions of the total height of the figure.

Proportion drawing of a male nude with a framework of horizontal and vertical lines and detailed measurements

Proportion drawing of a male nude with detailed measurements: Add MS 5230, f. 93r

Proportion drawing of a ‘stout woman’ accompanied by measurements

Proportion drawing of a ‘stout woman’ accompanied by measurements and step-by-step instructions in German on the correct construction of the figure: Add MS 5231, f. 5r

Proportion drawing of a male nude seen from the front and in profile
Proportion drawing of a male nude seen from the front and in profile: Add MS 5228, f. 124r 

Proportion drawing of an infant, before 1513

Proportion drawing of an infant: Add MS 5228, f. 186v

Drawing showing the construction of a male head in profile

Drawing showing the construction of a male head in profile: Add MS 5230, f. 10r

As Dürer’s sketches of fencers in combat illustrate, he was also interested in the theory of movement and how to capture the appearance and form of the body in motion. The inscriptions accompanying the rapidly executed drawings explain that they show the positions for the blades and for counter-blows or parries.

Drawing of fencing positions, 1512

Drawing of fencing positions, 1512: Add MS 5229, f. 67v

Albrecht Dürer’s extensive research, conducted over 30 years, culminated in the illustrated treatise Vier Bücher von menschlicher Proportion or ‘Four Books on Human Proportion’ which was posthumously published by his wife Agnes in Nuremberg in 1528.

“Dürer was here. A journey becomes legend” runs in Aachen from 18 July until 24 October 2021.

 

Andrea Clarke

Follow us on Twitter @BLMedieval

17 July 2021

A library under lockdown

How would you cope if your library was under lockdown? That is the situation Sir Robert Cotton (1571–1631) found himself in late in his life. We can all probably sympathise — most of us would never have anticipated the events of the past year — but the treasures denied to Cotton, by order of King Charles I, were astonishing. They included the Lindisfarne Gospels, Beowulf and a copy of Magna Carta issued in 1215 with King John's seal intact; for Cotton had assembled one of the greatest private libraries ever known. At a time when the British Library's own Reading Rooms and galleries have now reopened, and remembering of course that we have always remained open online, we look back in this blogpost to the events of the 1620s–30s and consider what lessons can be learned from them. 

A portrait of Sir Robert Cotton, with his hand resting on the Cotton Genesis

A portrait of Sir Robert Cotton, commissioned in 1626 and attributed to Cornelius Johnson, reproduced from the collection of The Rt. Hon. Lord Clinton, D.L.

The temporary closure of Cotton's library is summarised by Colin Tite in The Manuscript Library of Sir Robert Cotton (The British Library, 1994). Cotton, a Member of Parliament for Huntingdonshire and advisor to King James I (reigned 1603–1625), as well as a prominent antiquary and manuscript collector, had aroused suspicion over a number of years. Cotton's London residence was at Westminster — Members of the House of Lords had to pass through his garden in order to enter their chamber — and his habit of amassing state papers for antiquarian and political purposes (what we would now call 'preserving them for posterity') had earned the mistrust of the new king, Charles I (reigned 1625–1649), and his favourite, the Duke of Buckingham.

As early as 1616 Cotton had been suspected of communicating 'secretts of state' to the Spanish ambassador, for which he was threatened with the confiscation of his papers. Cotton frequently loaned his manuscripts or allowed others to consult them, what we may consider a charitable act but which curried disfavour in certain quarters. One of those borrowers was Francis Bacon (1561–1626), the Lord Chancellor of England, until he was impeached, barred from office, fined £40,000 and imprisoned for three days. (Bacon's disgrace, ostensibly for taking bribes, was ultimately the result of a scandal relating to monopolies and patents, for which he was made the scapegoat.) In 1621, as part of his extended punishment, Bacon was forbidden access to Cotton's library, but we know that the two men remained close. Two years later, in 1623, Bacon presented to Robert Cotton the benefactors' book of St Albans Abbey (Cotton MS Nero D VII), as is evidenced by an inscription on its opening page.

A page from the Benefactors Book of St Albans, with a decorated initial P, and at the foot an inscription recording that Francis Bacon gave the book to Robert Cotton

The Benefactors Book of St Albans, presented to Robert Cotton by Francis Bacon in 1623: Cotton MS Nero D VII, f. 1r

The year 1626 witnessed another two incidents that suggested all was not well between Sir Robert Cotton and the new king. First, at Charles's coronation in 1626, Cotton attempted to present him with a gospel-book on which the early kings of England had reputedly sworn their oaths (Cotton MS Tiberius A II). Charles refused the gift and ordered that the royal barge be rowed past Cotton House, where Sir Robert was waiting, book in hand, as a result of which the king had to wade onshore, hardly a good omen for his own rule. Around the same time, the Duke of Buckingham urged that the famous Cotton library be closed, most probably because it contained the historical precedents on which his Parliamentary critics often relied. The library, in other words, had become a battleground for political debate.

A page of the Coronation Gospels with a decorated initial B followd by display script and the signature of Robert Cotton

A page of the so-called Coronation Gospels, with the signature Ro: Cotton Bruceus: Cotton MS Tiberius A II, f. 3r

Buckingham may have been assassinated by a discontented soldier at Portsmouth in 1628, but his untimely demise did not remove the heat from Sir Robert Cotton. After an allegedly seditious tract was found among Cotton's papers in 1629, Sir Robert and his associates were arrested and his library was ordered to be closed, with a guard placed on its door. The full impact of its closure may never be known, but the denial of his books to Cotton and his fellow antiquaries cannot be underestimated. The Privy Council appointed commissioners to search the library for state papers and other records that Cotton was suspected of having appropriated, and they drew up a catalogue of its contents (now Add MS 36789) to aid them in that process. The catalogue reveals that the manuscripts were arranged in presses named after the Roman emperors, and also that many of the papers were unbound. Tite also surmised that some items may have been confiscated from the library at this very time, since they are named in that catalogue but no longer form part of the Cotton collection. An example is the 'Survey of the Anne Royall 1626', a reference to the naval ship the Ark Royal, named after Queen Anne of Denmark, that sank in the 1630s.

Sir Robert Cotton was granted only limited access to his own library for the remainder of his life. He died on 6 May 1631, and it remained for his son and successor, Sir Thomas Cotton (1594–1662), to petition the king for the library to be re-opened. But the Cotton collection did not remain dormant in its final years. We know that Robert Cotton continued to receive new acquisitions even after 1629 — one wonders where he kept them — among which was the copy of Magna Carta we cited at the beginning of this blogpost, sent to him by Sir Edward Dering from Dover Castle on 10 May 1630. So the Cotton library may have been physically closed, but it remained an intellectual entity, cherished by Sir Robert Cotton, his family and the leading scholars of his day. It had been Cotton's ambition, essentially, to create a national collection, and his wish was fulfilled when his library was bequeathed to the British nation in 1702 'for Publick Use and Advantage', as confirmed by Act of Parliament (12 and 13 William III, c. 7). The Cotton manuscripts formed one of the foundation collections of the British Museum in 1753, and more recently, in 2018, they were inscribed on the UNESCO UK Memory of the World Register.

A letter addressed to Robert Cotton by Edward Dering, dated at Dover Castle, 10 May 1630

The letter of Edward Dering, informing Robert Cotton that he was sending him 'the charter of K. John dated att Running Meade', now Cotton Ch XIII 31 A: Cotton MS Julius C III, f. 143r

So what can we learn from this sorry episode? First of all, you should never give up, even if you lose access to your books due to circumstances beyond your control. We know that the last sixteen months and counting have been very difficult for so many of our readers, as well as the staff and supporters of the British Library, but we hope sincerely that with time we'll be able to recommence our studies with the benefit of the Library's collections and those of our sister-institutions around the world. Secondly, knowledge is precious. The attempts by the government of King Charles I to suppress the Cotton library were founded on jealousy, mistrust and abuse of process, but ultimately they proved unsuccessful. Finally, Sir Robert Cotton did not have the benefit of having digital surrogates made of his precious books, but today you can view some 312 of his manuscripts, 51 of his charters and 2 of his rolls on our Digitised Manuscripts site, with more items being added on a regular basis. Once again, we hope that Robert Cotton would have approved.

 

Julian Harrison

Follow us on Twitter @BLMedieval

22 May 2021

Gold and Glory at Hampton Court

The exhibition Gold and Glory: Henry VIII and the French King opens this week at Hampton Court Palace. It celebrates the ‘Field of Cloth of Gold’, one of history’s most famous and spectacular peace summits at which rival Renaissance rulers Henry VIII of England (1509–1547) and Francis I of France (1515–1547) met in person. The British Library is delighted to have loaned a number of manuscripts to be displayed alongside an array of treasures from 1520, including works of art, gold, weapons and textiles. Together they tell the story of a dazzling spectacle of diplomacy, pageantry and magnificence.

A detail of a coloured manuscript drawing showing an armoured knight holding a lance and sitting on a horse

Detail of a figure wearing armour, perhaps King Henry VIII, at the Field of Cloth of Gold: Cotton MS Augustus III/1, f. 35r

Henry and Francis’s legendary encounter inaugurated a new Anglo-French alliance that was signed in 1518 as part of a European-wide Treaty of Universal Peace. The treaty was negotiated by Cardinal Thomas Wolsey, Henry VIII’s brilliant administrator and trusted adviser, in response to Pope Leo X’s call for universal peace the previous year. As a result, Wolsey succeeded in reasserting his master’s status as a powerful European prince through peaceful means rather than warfare.

In the wake of the Treaty of Universal Peace, preparations got underway for the kings to meet in person.  Initially planned for 1519, the peace summit was postponed following the death of Holy Roman Emperor Maximilian I. Henry expressed his disappointment by gallantly promising not to shave his beard until he and Francis were able to meet face to face and the French king agreed to do the same. One of the British Library loans, a letter sent by Sir Thomas Boleyn to Cardinal Wolsey in November 1519, records that Henry later reneged on his vow because Queen Katherine ‘desired hym to putt yt of for her sake’. The French delegation was appeased by Thomas Boleyn’s assurance that Henry felt more affection for Francis than for any other king or prince and agreed that ‘their love is nat in the berdes but in the hartes’.

A manuscript page containing a letter in English from Sir Thomas Boleyn to Cardinal Wolsey. The edges of the paper page have been burned and remounted in paper frames.

Letter from Sir Thomas Boleyn to Cardinal Wolsey, recording how Henry VIII had reneged on his earlier promise not to shave off his beard until his meeting with Francis I (16 November 1519): Cotton MS Caligula D VII, f. 164r

Henry departed for France on 31 May 1520, accompanied by Queen Katherine, his sister Mary Tudor, dowager Queen of France, Cardinal Wolsey, and some 6,000 subjects, courtiers and English nobility. The two kings met on 7 June 1520 in the Val Doré, a small valley equidistant between the French town of Ardres and the English headquarters at Guînes in the Pale of Calais, a territory held since 1347 by the kings of England as part of their claim to the kingdom of France. Another British Library loan provides visitors with a contemporary view of the English castle of Guînes, where Henry lodged for the duration of the peace conference.

A pen-and-ink drawing of the castle at Guînes, showing its towers and ramparts

View of the keep and part of the walls of the English castle at Guînes (2nd quarter of the 16th century): Cotton MS Augustus I II 12

Both kings viewed the summit as an opportunity to impress those in attendance with magnificent displays of their wealth and culture; everything was done on a grand scale. A temporary town of tented pavilions that replicated royal palaces was built to accommodate their vast entourages. Constructed of canvas, the tents were dressed in rich fabrics, including cloth of gold, which gave the event its name: the Field of Cloth of Gold or ‘Camp du Drap d’Or’. A stunning tent design on loan from the British Library illustrates the size and splendour of the accommodation erected for Henry’s court.

A design for the red tents erected for King Henry VIII at the Field of Cloth of Gold

Manuscript tent design for the Field of Cloth of Gold, showing red tents with gold detail and crowned with fleur-de-lis, Tudor roses and heraldic beasts: Cotton MS Augustus III/1, f. 18r

After their initial meeting on 7 June, Henry and Francis demonstrated their princely power and military prowess in a daily round of tournaments involving jousting, mock battles, archery, wrestling matches and other feats of arms lasting more than two weeks. Both kings participated in the jousting competitions. Henry VIII in particular was renowned as a skilled jouster, and it is possible that in one drawing loaned by the British Library, the figure shown on horseback with a broken jousting lance is Henry himself.

A coloured drawing of a man wearing armour and carrying a lance, sitting upon a horse

Drawing of a figure on horseback, possibly of Henry VIII, with a broken jousting lance: Cotton MS Augustus III/1, f. 35r

The Field of Cloth of Gold was also a spectacular festival of entertainments. Henry and Francis hosted sumptuous feasts and banquets and laid on lavish entertainments with music, singing, dancing and masques. Choristers from the English Chapel Royal were in attendance and performed at the great liturgical feasts and the public Mass led by Cardinal Wolsey on the summit's final day. Shown below is a beautiful choirbook from the British Library on display in the exhibition. It was produced sometime between 1513 and 1525 for Henry VIII and Katherine of Aragon in the workshop of Petrus Alamire, contains 28 motets, and is magnificently decorated with Tudor heraldic emblems and Katherine of Aragon’s pomegranate.

An opening of a manuscript choirbook, with decorated initials on each page and the staves laid out for the music

A book of choral music made for Henry VIII and Katherine of Aragon, decorated with the Tudor royal arms and heraldic emblems: Royal MS 8 G VII, ff. 2v–3r

 

Gold and Glory: Henry VIII and the French King runs at Hampton Court from 20 May to 5 September 2021. 

 

Andrea Clarke

Follow us on Twitter @BLMedieval

01 April 2021

Alas, poor Hamlet

How well do you know your Hamlet?

We're not talking about the tragic Prince of Denmark, of course. We're referring to Hamlet Anderson, who owned a manuscript of the Wycliffite New Testament in the 16th century.

His name was noticed by Clarck Drieshen, who is currently cataloguing the Harley collection at the British Library. In three places at the end of Harley MS 4027, Hamlet inscribed his name, as you can see in this image of f. 184r. Clarck speculates that the former owner of this manuscript may be identified as 'Hamlet Anderton, tailour' of King’s Lynn, who is recorded in A Calendar of the Freemen of Lynn, 1292–1836 (Norwich: Archaeological Society, 1913), p. 106.

A page of a manuscript showing the signature of Hamlet Anderson in two separate places

Hamlet Anderson's name is inscribed twice on a page at the end of Harley MS 4027 (f. 184r)

It may not be unreasonable to suppose that a tailor would have owned a copy of the New Testament in English, albeit a manuscript version made in the first half of the 15th century. Also on f. 184r is a list of purchased items, including shears (wool), perhaps relevant to his occupation.

A detail of the two signatures of Hamlet Anderson

A detail of Hamlet Anderson's signatures: Harley MS 4027, f. 184r

Among the other owners of this manuscript were:

  • Baudet Anderton in the 15th century (his name is inscribed on f. 140v);
  • Thomas Bloye in the 16th century (f. 102r);
  • William Peirson in the early 17th century (f. 9r);
  • Thomas Johnson in 1670 (f. 181v);
  • Thomas Peirson in 1678 (f. 181v).

The names of Baudet Anderton, Hamlet Anderson and Thomas Johnson were all recognised for the first time by Clarck while he was cataloguing Harley MS 4027.

A manuscript page of the New Testament, written in Middle English, in 2 columns, and with decorated initials

The opening page of the Wycliffite New Testament, in Middle English (England, 15th century): Harley MS 4027, f. 1r

We have now added descriptions of more than 3,000 manuscripts in the Harley collection to the British Library's online catalogue. We'd love you to explore them for yourselves. Maybe you will encounter more familiar names or discover unfamiliar manuscripts for the first time.

Julian Harrison

Follow us on Twitter @BLMedieval

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