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170 posts categorized "English"

22 December 2015

Bins, Books and Bodian (Preaching): Ælfric and Christmas

For reformed Anglo-Saxon monks, the year began with Advent and Christmas.

  Add_ms_49598_f015v
The Nativity, from the Benedictional of St Æthelwold, England, c. 963-984, Add MS 49598, f. 15v.

Although Easter was considered the more important holiday by Anglo-Saxon churchmen, Christmas and Advent liturgies feature at the start of the year in liturgical manuscripts produced by the monks in the late 10th century in England, as elsewhere. Many of these manuscripts are now preserved at the British Library. For example, in two series of Old English sermons, written by Ælfric of Eynsham, the first sermons were devoted to Christmas. A sermon for December 25th is the first sermon in his Lives of the Saints (Cotton MS Julius E VII), and the second sermon in his first series of the Catholic Homilies (Royal MS 7 C XII). Both these manuscripts are now available online, via Digitised Manuscripts.

Cotton_ms_julius_e_vii_f005v
The beginning of the sermon for Christmas, Ælfric’s Lives of the Saints, Southern England, 1st half of the 11th century, Cotton MS Julius E VII, f. 5v

In the sermon in the Catholic Homilies, Ælfric summarizes the story of Christ’s birth as it is found in the Gospels for his Old English-speaking audience, describing how Mary and Joseph had to travel to Bethlehem, how they had to stay in a stables, and how Christ was born in a stable and placed in a binn (the Old English word for a manger or basket which is the root of the modern English word ‘bin’). He then provides context for his listeners by discussing some Roman history, the etymology of the name ‘Bethlehem’, the different ways angels appeared to humans in the Old and New Testaments, and compared the shepherds of the Biblical story to contemporary teachers and preachers.

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The beginning of the sermon for Christmas, the First Series of Ælfric’s Catholic Homilies, Cerne, 990s, Royal MS 7 C XII, f. 9v

Ælfric was a monk and the most prolific Old English author whose works still survive. He lived in the late tenth and early eleventh centuries. As a boy, he had been trained at Winchester in the school of Bishop Æthelwold, the church reformer whose Benedictional appears above. By about 987, Ælfric had come to the attention of the Anglo-Saxon equivalent of the literati, because he was sent to the church which the thegn (important layman) Æthelmaer had founded or refounded at Cerne. There, around 990, Ælfric wrote a series of sermons for two whole liturgical years: the first and second series of the Catholic Homilies. The manuscript which has just been put online is believed to have been written at Cerne: in fact, some of the marginal notes might even be in Ælfric’s own handwriting, as he apparently edits the text and tries to avoid repeating himself. For example, in the image below, Ælfric appears to have put a box around the text he would like to be deleted from future copies of this sermon. A note at the side explains that this information is repeated, in more detail, in the ‘other book’ (presumably his second series of the Catholic Homilies).

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Annotations on a sermon, possibly by Ælfric, Royal MS 7 C XII, f. 64r

Ælfric’s career was only just taking off at that point. The Catholic Homilies were copied and distributed with the help of the Archbishop of Canterbury, Sigeric. Later in the 990s, Æthlmaer and his father, Ealdorman (senior government official) Æthelweard asked Ælfric to write a further series of homilies about the lives of various saints. The earliest manuscript of this series, Cotton Julius E VII, is now also available on Digitised Manuscripts.

Cotton_ms_julius_e_vii_f003v
Ælfric’s name begins with a colourful initial in this preface to his Lives of the Saints, Cotton MS Julius E VII, f. 3v

The quality of the colourful and ornate initials in this, slightly later manuscript shows how Ælfric had attracted the attention of patrons and scriptoria with better resources than the scriptoria at Cerne, where the earliest surviving manuscript of the Catholic Homilies is believed to have been written.

In addition to his sermon series, Ælfric wrote several instructional works, including a grammar and a colloquy (an imaginary dialogue between men of different professions, designed to teach young monks Latin). Even judging from the number of surviving copies, Ælfric’s Grammar was a popular work in late Anglo-Saxon England, even a bestseller. Eventually, Ælfric became abbot of Eynsham, just outside of Oxford.

So, whether you are looking for a sermon for Christmas, for key texts by the most prolific Old English author, or simply the root of the word ‘bin’, you can click over Digitised Manuscripts to see all these works in more detail.

Alison Hudson, Project Curator, Anglo-Saxon Manuscripts

20 December 2015

Medieval Festive Survival Guide

To help you negotiate the festive season, medieval writers, illustrators and patrons had some useful tips …

1. Ensure the prompt delivery of your Christmas greetings by hiring a messenger.

  Harley_ms_4425_f137v
Detail of a messenger from Guillaume de Lorris’s and Jean de Meun’s Roman de la Rose, Low Countries (Bruges), c 1490-c 1500, Harley MS 4425, f. 137v

2. If you’re stuck for gift ideas, books always make great presents. The Bedford Hours was once a Christmas gift.

Add_ms_18850_f075r
The Wise Men offering Christ gifts, from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 75r

3. On the subject of gifts, if you can’t find a partridge for your pear tree, a king will do…

King Mark Pear Tree
Image of King Mark in a pear tree, from a series of drawings illustrating the Tristan romance, England (London?), 2nd or 3rd quarter of the 13th century, Add MS 11619, f. 8r

4. At Christmas parties, don’t get caught out under the mistletoe: timing is everything!

Royal 20 A XVII Pygmalion
Detail of Pygmalion kissing the statue, from Roman de la Rose, Northern France (Artois or Picardy), c. 1340, Royal MS 20 A XVII , f. 171r   

5. Know when you have had enough to drink.

Royal 6 E VII K042592
Ebrietas (Drunkenness) from Omne Bonum (Ebrietas-Humanus), England (London), c. 1360-c. 1375,
Royal MS 6 E VII , f. 1r

6. If you discover you have a headache, though, try tying some crosswort to your head with a red cloth or smearing your temples with pennyroyal boiled in oil or butter or placing ‘stones’ from three young sparrows on your head. This allegedly also works for nightmares, temptations and ‘evil enchantments by song’ (for an edition and translation, see Leechdoms, Wortcunning, and Starcraft of Early England, ed. by T. O. Cockayne, Rolls Series, 3 vols (London: Longmans, 1864-66), vol II (1864), pp. 304-07).

Royal_ms_12_d_xvii_f111r
Remedies of headaches, from Bald’s Leechbook, England (Winchester?), mid-10th century, Royal MS 12 D XVII, f. 111r
.

7. Enjoy Christmas dinner.

Add 15268 Feasting c13842-19a
Detail of feasting from Histoire Universelle, Latin Kingdom of Jerusalem (Acre), c. 1275-91, Add MS 15268, f. 242v

8. Enjoy some seasonal music.

  Harley_ms_2961_f012v
Part of the liturgy for Christmas, from the Leofric Collectar, England (Exeter), c. 1050-c. 1072, Harley MS 2961, f. 12v

9. And remember, a dog is for life not just for Christmas.

Margaret of York dog
Miniature of the resurrected Christ with Margaret of York and a dog, from
Nicolas Finet, Dialogue de la duchesse de Bourgogne, Low Countries (Brussels), c. 1468, Add MS 7970, f. 1v

Dogs Royal MS 20 A II, f 8v
Detail of King John with a hunting dog, from a collection of drawings with various inscriptions and poems, Northern England, c. 1307-1327, Royal MS 20 A II, f. 8v

21 November 2015

New to the Treasures Gallery

As frequent visitors to the British Library will know, we regularly make changes to the items displayed to the public in the Sir John Ritblat Gallery, also known as our Treasures Gallery.  We are pleased to announce that the Ancient, Medieval and Early Modern Manuscripts section has placed a number of new manuscripts on display.  Most of these manuscripts are fully digitised and can be found online at Digitised Manuscripts, so if you’re not able to make it to the Gallery here in London, there’ s no need for you to miss out!

Add_ms_10289_f045v
Painting of Mont Saint Michel burning,
from 'Li Romanz du Mont Saint-Michel', France (Normandy), 1375-1400, Add MS 10289, f. 45v

The ‘Literature’ section sees the addition of Add MS 10289, 'Li Romanz du Mont Saint-Michel' (the Romance of Mont Saint-Michel), a late 13th century miscellany of romances, moralistic and religious texts, and medical recipes written in Anglo-Norman.   The folio displayed shows the burning of the monastery in the year 922; much more about this fabulous manuscript can be found in our post The Romance of Mont Saint-Michel.

Harley_ms_4866_f088r
Miniature of Geoffrey Chaucer, from Thomas Hoccleve’s Regiment of Princes, England (London or Westminster), c. 1411 – c. 1420, Harley MS 4866, f. 88r

Also in this section is one of the earliest copies of Thomas Hoccleve’s The Regiment of Princes, which was created c. 1411 – c. 1420, possibly under the supervision of Hoccleve himself.  This manuscript (Harley MS 4866) includes the famous portrait of Geoffrey Chaucer, holding a rosary and wearing a pen-case on a string around his neck

Harley_ms_5600_f015v
Miniature of Homer in a landscape listening to his Muse, from a copy of Homer’s Iliad, Italy (Florence), 1466, Harley MS 5600, f. 15v

Three manuscripts featuring the works of classical authors have been added to the ‘Art of the Book’ section.  A 15th century Greek manuscript, copied in Florence in 1466 by Ioannes Rhosos of Crete, contains a gorgeous miniature of Homer surrounded by Muses, in a typical Florentine style (Harley MS 5600).  This Homer is joined by the works of two more Roman authors who were also hugely popular in Renaissance Italy: a late 15th century copy of the works of Cicero (Burney MS 157), and a Virgil copied in Rome between 1483 and 1485 (Kings MS 24).

Add_ms_5231_f005r
Drawing of a ‘stout woman’ from a notebook by Albrecht
Dürer, Germany, c. 1500, Add MS 5231, f. 5r

Manuscripts in another section contain material from two of the great artists of the Renaissance: Albrecht Dürer and Michaelangelo.  Dürer’s interest in anatomy are reflected in four sketchbooks now owned by the British Library, one of which includes a sketch of a ‘stout woman’ accompanied by detailed notes on how to correctly construct a human figure (Add MS 5231).  Alongside Dürer’s volume is one composed of a series of letters exchanged by Michaelangelo Buonarroti and his family.  On display is a letter Michaelangelo wrote to his nephew from Rome in 1550, offering some genial advice on the best way to select a wife (Add MS 23142).

Add_ms_30845_f013r
Text page with musical neumes, Spain (Silos), c. 1050, Add MS 30845, f. 13r

We have also updated the ‘Early Music’ section with two of our best-known musical manuscripts.  Dating from c. 1050, Add MS 30845 is a liturgical manuscript with musical notation, created in the monastery of Santo Domingo de Silos in northern Spain.  This notation consists of graphic signs that indicate the direction of the melody; as the pitch is lacking, however, the original melody is now impossible to recover.  Accompanying the Silos manuscript is one containing perhaps the most famous piece of English secular medieval music, ‘Sumer is Icumen in’, which is known only from this manuscript. 

Harley_ms_978_f011v
Page with ‘Sumer is Icumen in’, from a miscellany, England (Reading Abbey), c. 1260, Harley MS 978, f. 11v

If you’re interested in more information on this wonderful piece of music (from Harley MS 978), please see our post Sumer is Icumen In.  And whether your visit is in person here in St Pancras, or virtual amongst our digitised manuscripts, we hope you enjoy yourselves!

-  Sarah J Biggs

19 November 2015

Anglo-Saxon Digitisation Project Now Underway

The British Library possesses the largest collection of Anglo-Saxon manuscripts in the world. Many of these manuscripts are already available via our Digitised Manuscripts website, and we are delighted to announce that dozens more will be added in the coming months as part of a new digitisation project.  These manuscripts will include the B, D, and F versions of the Anglo-Saxon Chronicle, manuscripts with early musical notation, Archbishop Wulfstan’s letter book, laws, saints’ lives, early manuscripts of Ælfric’s writings, charms, and medical recipes.  This digitisation has been generously funded by a donation made in memory of Melvin R Seiden.

Add_ms_47967_f048v
Zoomorphic pen-drawn initial from the beginning of a book in an Old English translation and compilation of Orosius, from the Tollemache Orosius, Add MS 47967, f. 48v

The first five manuscripts have gone already gone online.  These include the earliest copy of the Old English version of Orosius’s Historia adversus paganos, an early eleventh-century schoolbook, and two manuscripts associated with Bishop Leofric of Exeter.  So click over to Digitised Manuscripts for images of fantastical creatures in interlace initials, an imaginary dialogue between a monk, a cook, and a baker, and early musical notation! 

Harley_ms_110_f003r
Zoomorphic initial ‘H’ at the beginning of a text, Harley MS 110, f. 3r

Add MS 28188:  Pontifical with litanies and benedictional (imperfect), England (Exeter), 3rd quarter of the 11th century

Add MS 32246:  Fragment of Excerptiones de Prisciano with the 'Elegy of Herbert and Wulfgar', glossaries, and Ælfric's Colloquy, England (Berkshire?), 1st half of the 11th century

Add MS 47967:  Orosius, Historia adversus paganos ('The Old English Orosius' or 'The Tollemache Orosius' ), England (Winchester), 900-1000

Harley MS 110:  Glossed copy of Prosper, Epigrammata ex sententiis S. Augustini, Versus ad coniugem, Isidore, Synonyma de lamentatione animae peccatricis; two leaves from a gradual, England, 975-1060

Harley MS 2961:  Leofric Collectar, England (Exeter Cathedral), 1050-1072

Harley_ms_2961_f010r
Text page with musical neumes, from the Leofric Collectar, Harley MS 2961, f. 10r

Additionally, as this project continues, some manuscripts may be unavailable as they are being digitised.  Readers intending to consult Anglo-Saxon manuscripts that have not already been made available on Digitised Manuscripts should therefore please contact the British Library's Manuscripts Reference Team ([email protected]) before planning a visit.

Add_ms_47967_f062v_detail
Detail of a text page with a sheep drawn around a hole in the parchment, from the Tollemache Orosius,
Add MS 47967, f. 62v

-  Alison Hudson, Project Curator, Anglo-Saxon Manuscripts

14 October 2015

The Unicorn Lives On

On 20 September of this year our eagle-eyed friend and former colleague Dr Alixe Bovey drew our attention to that day’s edition of The Sunday Times.  In that issue was an article about the latest work by the artist Sir Peter Blake, who is perhaps best known for designing the iconic album cover for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.  Sir Peter had created a mural to celebrate the 800th anniversary of the Lord Mayor’s Parade, compiling dozens of images to capture the spirit of the parade across the centuries.

Peter Blake mural

In the earliest years of the parade can be found the familiar figure of our ‘unicorn lady’; can you spot her amongst the crowds?  She first made an appearance on 1 April 2012 in our post Unicorn Cookbook Found at the British Library, and now you can see her between the years 1315-1415 and 1514-1515 (click the above image for a larger version).  It is a testament to the power of medieval images that they can continue to be reused and remixed today in such interesting ways, and to such astounding effect.  We are absolutely thrilled. 

Unicorn Head
Bringing the unicorn to table, from the Unicorn Cookbook

We’ve found a number of other images from British Library manuscripts in Sir Peter’s work, including the dancing nun of the Maastricht Hours (for more on that manuscript, see Monkeying Around with the Maastricht Hours).  Please do let us know if you discover any others, either in the comments below or on Twitter @BLMedieval

-   Sarah J Biggs

29 September 2015

Erasmus Manuscript Saved for the Nation

We are delighted to announce that the British Library has acquired a unique manuscript containing the earliest known translation into English of any work by the great humanist scholar and reformer, Desiderius Erasmus (d. 1536). This volume, which had been the subject of a temporary export bar, is also the only known manuscript of a contemporary English translation of Erasmus’s most popular work, the Enchiridion militis Christiani, or ‘Handbook of the Christian soldier’.  

Add_ms_89149_f001r

A contemporary English translation of Erasmus’s Enchiridion militis Christiani, newly-acquired by the British Library (Additional MS 89149, f. 1r)

Erasmus is perhaps best known today for his satire The Praise of Folly, which he wrote to amuse Thomas More (d. 1535), and for his translation of the New Testament from Greek; but the Enchiridion was Erasmus’s first summing up of the guiding principles of his religious life, setting out his vision of a purified, Christ-centred faith based on essential points of doctrine. As a compendium of humanistic piety, it endorsed the lay vocation to holiness in the Christian life. Erasmus’s revolutionary concept, given its first and definitive expression in the Enchiridion, was his elevation of the educated laity as the potential source of new life in a Church and society fallen into decay. The Enchiridion evoked widespread interest throughout Europe and became one of the most influential devotional texts of the early 16th century. Between 1501, when Erasmus wrote the Enchiridion, and 1536 when he died, the original Latin text appeared in more than 50 printed editions. Between 1533 and 1545 there were 13 editions in English, the first being published by Wynkyn de Worde for John Bydell in London. The large number of English printed editions of the Enchiridion demonstrates the importance of its influence in pre-Reformation England.    

Dated 1523, the manuscript was written ten years before the English translation of the Enchiridion first appeared in print in 1533. Two contemporary accounts testify that the religious reformer William Tyndale (d. 1536) translated the Enchiridion into English in 1522 or 1523. To date, there has been no secure evidence that Tyndale’s translation survived but its relationship to the text of the English translation, printed by Wynkyn de Worde in 1533, has long been a matter of scholarly debate. The proximity of the date of the Northumberland manuscript to Tyndale’s putative Enchiridion now tantalisingly suggests a potential identification with his ‘lost’ translation. 

Add_ms_89149_f144v

Colophon: 'translated oute of latten into englisshe in the yere of our lord god mlvcxxiii [i.e. 1523]' (Additional MS 89149, f. 144v)

The manuscript has been in the Duke of Northumberland’s collection at Alnwick Castle since at least 1872 and its significance was only realised when it was put up for sale last summer. Initially sold to an overseas buyer, a temporary export bar was placed on the manuscript by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest, on the grounds that it is of outstanding significance for the study of cultural movements towards the Reformation in England, the earliest known translation of Erasmus into English, and of significance for the study of scholastic links between Erasmus and Tyndale. The acquisition of the Erasmus manuscript by the British Library has been made possible thanks to the generous grants from the National Heritage Memorial Fund, the Friends of the British Library, the Friends of the National Libraries, and an anonymous donor.

The news of the British Library’s acquisition of the manuscript has been welcomed by Alec Ryrie, Professor of the History of Christianity at the University of Durham: ‘This manuscript, which seems very likely to be the work of William Tyndale, is one of the most significant new archival discoveries relating to the history of the English Bible and the English Reformation to have been made during my lifetime. Long given up for lost, this brings us closer to the work of a man who was not only one of the heroes of the Reformation but also the single most influential figure in the formation of the modern English language. It's a genuine national treasure, and the British Library is to be congratulated on a stellar new acquisition.’

Dr Claire Breay, Head of Ancient, Medieval and Early Modern Manuscripts at the British Library said, ‘I am thrilled that the British Library has secured this very significant manuscript for the national collection. As well as being available to researchers in the Manuscripts Reading Room at the Library, the manuscript has been digitised and is now available to everyone in full online.’

Complete, free digital coverage of the manuscript (now Add MS 89149) is available on our Digitised Manuscripts site.

- Andrea Clarke, Lead Curator, Medieval and Early Modern Manuscripts 

23 August 2015

Little Ado About Something Rather Significant: William Shakespeare and Magna Carta

If you were writing a play about the reign of King John, what would be the one scene you could not dispense with? The sealing of Magna Carta at Runnymede, perhaps? Yet, this is exactly the scene that the nation’s greatest playwright William Shakespeare forgot to mention in his play The Life and Death of King John.

Shakespeare's King John

A page from the First Folio of William Shakespeare's The Life and Death of King John, in which John urges Hubert to murder Prince Arthur, "a very serpent in my way"

This notable omission has puzzled scholars for generations. Why would Shakespeare not mention the most significant event in John’s reign? Some have suggested that it is because Shakespeare was unaware that Magna Carta originated with King John in 1215. Given that copies were reissued in 1216, 1217, 1225 and 1297 this could have been an easy mistake for the bard to have made – but unlikely. Shakespeare knew his history. Written in the 1590s during the reign of Elizabeth I, it is more likely that the courtier in Shakespeare was compelled to leave out Magna Carta as too politically sensitive, something that might be construed as criticising the institution of monarchy or tacitly supporting the idea of internal rebellion against the crown. In the aftermath of the long and bloody Wars of the Roses (1455-1487), Tudor political doctrine had little sympathy for baronial rebellion, weak monarchy or internal conflict; while the turbulence of the Reformation made Magna Carta – with its first clause prescribing the freedom of the English Church – a dangerous document to invoke and of more use to recusant Catholics than Protestant apologists. Given the political climate in which Shakespeare was writing it is, perhaps, surprising that he wrote about King John at all.

In writing his play on King John, Shakespeare followed very closely an earlier play by George Peele entitled The Troublesome Reign of King John which, published in 1591, equally failed to mention Magna Carta. For these playwrights John’s story was not one – as it is now – about wrestling rights from a monarch or about making Magna Carta a hallowed symbol of individual liberty. More important for them was how the events in John’s reign exemplified the ever present and dangerous influence a fickle papacy could have on English politics. Throughout Peele’s stridently anti-Catholic The Troublesome Reign, John is represented as patriotically defending the nation against the foreign interference of the Pope. The same is true of Shakespeare's play. Though Shakespeare certainly presents King John as a bad and malevolent king, the play is still tangibly anti-Catholic and the Pope remains an interfering threat. Indeed, in the play King John is eventually poisoned by English monks loyal to Pope Innocent III. This was above all a play which celebrates the Protestant religious settlement, not the liberty of the individual. Given the religious tensions prevalent in Elizabethan England it is unsurprising that Shakespeare would prefer to focus on these religious themes in John’s reign than the sealing of Magna Carta.

Herbert Beerbohm Tree

Painting of Herbert Beerbohm Tree as King John by Charles Buchel, kindly loaned to the Magna Carta exhibition by the Victoria and Albert Museum

Since Shakespeare did not include Magna Carta in his story, subsequent theatre companies have incorporated into their own productions newly written scenes depicting the events at Runnymede in 1215. When, between 20 September 1899 and 6 January 1900 the leading Shakespearian actor Herbert Beerbohm Tree performed King John to some 170,000 spectators at Her Majesty’s Theatre in London, he inserted a new scene at the beginning of Act III that depicted him, as John, granting Magna Carta to the barons. Short excerpts of Beerbohm Tree’s production were filmed to publicise the play, with the surviving footage, including John’s death scene, being the oldest record of Shakespeare on film. Clearly, by the 19th century the Great Charter had become a much more important aspect of John’s reign, imbued with a meaning very different from that which it ever had in the 16th century, and scenes depicting it being granted were expected by audiences. As is ever the case with Magna Carta’s story, the document is interpreted and reinterpreted in line with the preoccupations of the present. And for Shakespeare, it just didn’t matter that much!

 

Alexander Lock

16 July 2015

Another Apocalypse Manuscript Digitised

The British Library has a great collection of Apocalypse manuscripts and we have featured them in a number of recent blogposts. At the end of this post, we provide a list of the best-known Apocalypse manuscripts that have been digitised in recent years. The most recent Apocalypse to be digitised is the rather lesser-known but finely-executed Additional MS 35166, an Apocalypse in Latin with commentary by Berengaudus and a life of St John the Divine, whose visions are recorded in the Book of Revelation.

Add_ms_35166_f009v
The earthquake at the opening of the Sixth Seal. Additional MS 35166, f. 9v (detail), England, S.E. (?London), 2nd half of the 13th century

The top half of every recto and verso of the 38 folios (there are a number of leaves missing, from Revelation 10:7 to 16:8) has a miniature, and underneath is a brief passage from the Apocalypse written in black ink, followed by Berengaudus’ commentary in red ink.

Add_ms_35166_f007v
The Second Seal: the Red Horse. Additional MS 35166, f. 7v (detail), England, S.E. (?London), 2nd half of the 13th century

The exquisite tinted drawings faithfully portray John's vivid descriptions of his visions. The illuminator has incorporated John into the majority of scenes, which lends a sense of immediacy to the images: the reader witnesses the horror and awe of the Apocalypse alongside him.

Preceding and following the Apocalypse are scenes from the Life of St John. His death at the hands of the Emperor Domitian in a cauldron of boiling oil is depicted here:

Add_ms_35166_f001v
John in a cauldron of oil, Additional MS 35166, f. 1v (detail), England, S.E. (?London), 2nd half of the 13th century

The stories from the life of John are from the New Testament Apocrypha and include the tale of a young man who is presented to a bishop by John and becomes his cup-bearer. The young man, riding a white horse, joins a band of robbers and they kill and steal. John is told this by the bishop and rides out to bring the young man back to the bishop.

Add_ms_35166_f035r
The young man and robbers stealing and murdering, Additional MS 35166, f. 35r (detail), England, S.E. (?London), 2nd half of the 13th century

This Apocalypse manuscript may have belonged to a religious guild known as the Kalendars, as it is inscribed, ‘Liber Domus Kalendarum’ on the first folio.  The Kalendars were religious guilds of the Middle Ages, composed of clergy and laity, known to have existed in Bristol, Exeter and Winchester in the 12th century.  They met on or around Kalends (the first day of the month), hence the name ‘Kalendars’.

For comparison, here are some images of the opening of the Sixth Seal and the earthquake (Rev. 6:11-15) in several other Apocalypse manuscripts held by the British Library, to give you a sense of the differing styles of illumination:

The Queen Mary Apocalypse

Royal_ms_19_b_xv_f011v
John watching the earthquake, with ruins and fallen stars, and the dead in holes, Royal MS 19 B XV, f 11v (detail), England S. E. (London), or East Anglia, 1st quarter of the 14th century

The Yates Thompson Apocalypse

Yates_thompson_ms_10_f011r
The earthquake at the opening of the Sixth Seal: six heads in holes in the ground with a river in the foreground and the sun and moon, Yates Thompson MS 10, f. 11r (detail), France (Paris), 1370-1390

The Silos Apocalypse

Add_ms_11695_f108r
The opening of the Sixth Seal: Christ enthroned above the dark sun and red moon; below, falling stars and the earthquake, Additional MS 11695, f. 108r, Spain, 1091-1109

The Welles Apocalypse

Royal_ms_15_d_ii_f131r
The opening of the Sixth Seal; the earthquake. At the top, a darkened sun and moon and stars falling from the sky. In the centre, a king, a master and other men hiding in caves. To the right, a building collapsing. To the left, St John is witnessing the scene. Royal MS 15 D II, f 131r (detail), England, c 1310

The Abingdon Apocalypse

Add_ms_42555_f016v
The Sixth Seal: St John looking up at a cloud containing the sun and moon; on the right the ruins of a town and men and women in holes in the ground, with fragments of objects falling from the sky. Add MS 42555, f 16v (detail), England, 3rd quarter of the 13th century


- Chantry Westwell

 

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