25 November 2013
Happy St Catherine's Day!
St Catherine of Alexandria was one of the most venerated saints and martyrs in the medieval era, and indeed still is today. Especially on this day, which is that of her feast; we hope you all have your fireworks ready for a St Catherine’s Wheel!
Miniature of St Catherine before the wheel, with the Emperor Maxentius in the background, from the Beaufort/Beauchamp Hours, England (London) and Netherlands (Bruges), 1401- c. 1500, Royal MS 2 A XVIII, f. 15v
According to her legend, Catherine was born to the pagan King Constus and Queen Sabinella of Alexandria in the very late 3rd century AD. She was said to have been extremely well-educated, and converted to Christianity as a teenager. Her devotion to Christ was such that she determined to visit the Roman Emperor Maxentius to argue against his persecution of Christians. Needless to say, Maxentius was not receptive to her pleas, and had the young woman scourged and then thrown into prison. While there she was visited by a number of notables, including Maxentius’ wife; Catherine’s passionate eloquence, we are told, succeeded in converting all of these visitors to Christianity, even though this meant that they were immediately put to death by the Roman authorities.
Detail of a miniature of St Catherine being scourged, from the Taymouth Hours, England, 2nd quarter of the 14th century, Yates Thompson MS 13, f. 16v
After prison proved an ineffective constraint on Catherine, legend has it that the Emperor Maxentius tried a proposal of marriage, which Catherine rejected on the grounds that she had consecrated her virginity to Christ (although one imagines that the Christian-executing Emperor would not have been an attractive candidate to her regardless). Maxentius did not take this well either, and sent Catherine to be executed on the back-breaking spiked wheel. The wheel, however, miraculously broke apart the moment Catherine touched it, so Maxentius ordered that she be beheaded.
Miniature of St Catherine being beheaded, from a Book of Hours (Use of Angers), France (Angers), c. 1450, Harley MS 5370, f. 167r
St Catherine is one of the most recognizable saints in medieval art, as she is usually depicted with one or both of the instruments of her martyrdom, most often the spiked wheel. Devotion to her in the Middle Ages was intense, and miniatures of her appear in many manuscripts of the period. A number of these can be found below, including a remarkable sequence in the Queen Mary Psalter that details her martyrdom.
Detail of an historiated initial of St Catherine praying and the wheel breaking, from the Harley Hours (Use of Sarum), England, last quarter of the 13th century, Harley MS 928, f. 10r
Miniature of St Catherine before her suffrage, from a Book of Hours (Use of Sarum), Netherlands (Bruges), c. 1500, King’s MS 9, ff, 58v-59r
Miniature of St Catherine, much effaced (possibly because of devotional kissing of the miniature), from a Book of Hours (Use of Sarum), Netherlands, 3rd quarter of the 15th century, Harley MS 2966, f. 10r
Detail of a bas-de-page image of St Catherine in prison, surrounded by musical angels, from the Queen Mary Psalter, England, 1310-1320, Royal MS 2 B VII, f. 280r
Detail of a bas-de-page image of St Catherine praying and angels breaking apart the spiked wheel, from the Queen Mary Psalter, Royal MS 2 B VII, f. 283r
Detail of a bas-de-page image of St Catherine being buried by angels on Mount Sinai, from the Queen Mary Psalter, Royal MS 2 B VII, f. 284r
St Catherine is considered the patron saint of unmarried girls, craftspeople who work with wheels, such as potters and spinners, philosophers, students, librarians and archivists (luckily for us). Please do let us know if you have any other favourite images of this venerable saint, and we hope you have a happy St Catherine’s Day!
06 November 2013
How Does Beowulf Begin?
We always like to hear about research that touches on the British Library's collections; and here is a good example. Anglo-Saxon scholars will invariably be familiar with the opening of the epic poem Beowulf, which starts with the word "Hwæt!". You can see the word in question above (the second letter is a wynn, pronounced w-), and you can view the whole manuscript online on our Digitised Manuscripts site.
This word "Hwæt" has puzzled translators for some considerable time, and it has been rendered variously as "What!" by William Morris (1895) and "So!" by Seamus Heaney (1999), among other interpretations. However, new research by George Walkden (University of Manchester) suggests that the context of "Hwæt" has been misunderstood: instead of functioning as a command to listen (along the lines of Hey! Oi you!), Walkden proposes that it should be translated as "How", in the sense of "How we have heard of the might of kings". Dr Walkden's conclusion is based on a close study of the other uses of this word and, if correct, adds a fresh perspective to the opening lines of Beowulf. Perhaps the original audience wasn't so inattentive, after all?
For those of you interested in what the poem would have sounded like, we'd also highly recommend the version by Benjamin Bagby. Or if you'd prefer to hear the opening lines in Hungarian (or French or Telugu), click here! "Listen up"" (as the Beowulf-poet apparently didn't say).
22 October 2013
Lindisfarne Gospels Back in Treasures
Regular visitors to the British Library may be aware that some of our greatest treasures are often to be found on display in The Sir John Ritblat Gallery. At the time of writing you can see medieval manuscripts such as Magna Carta, Beowulf and the Luttrell Psalter; and we're delighted to announce that the magnificent Lindisfarne Gospels is a new addition to that list.
Canon table in the Lindisfarne Gospels (London, British Library, MS Cotton Nero D IV, f. 14v).
Now on display in London are two pages from the canon tables which preface the Lindisfarne Gospels. This Northumbrian gospel-book, renowned for its lavish carpet-pages and miniatures of the four evangelists, was made at the beginning of the 8th century, according to a colophon added some 250 years later (f. 259r). The canon tables provide readers with a concordance to the Four Gospels, allowing them to locate episodes described by more than one evangelist. Those tables in the Lindisfarne Gospels are notable for the intricate ornamentation of the columns, and for the rich palette of reds and blues, found elsewhere in the decoration of the manuscript.
Detail of the Lindisfarne Gospels canon table (London, British Library, MS Cotton Nero D IV, f. 15r).
The Sir John Ritblat Gallery: Treasures of the British Library is open seven days a week, and is free to visit. You may also like to know that the Lindisfarne Gospels can be viewed in its entirety on our Digitised Manuscripts site.
14 October 2013
Anglo-Saxon Medicine
Do you suffer from asthma, warts or hiccups? Are you fed up with modern medical remedies? If so, we are pleased to tell you that How to Cure the Plague and Other Curious Remedies, by Julian Walker, has just been published by the British Library. Here the author describes for us the state of Anglo-Saxon medicine.
Bald's Leechbook (London, British Library, Royal MS 12 D XVII, ff. 20v-21r.
Medicine in Anglo-Saxon England was a complex mix of charms, the remnants of classical theories and practice, pragmatic folklore, and faith-healing; despite a longstanding reputation for worthlessness, it was perhaps more based on observation than the reliance on astrology and the theory of humours that marked the medicine of the later medieval period. Sometimes the presence of an odd superstition colours the whole, for example in a fairly accurate account of foetal development, which ends by suggesting that a foetus unborn after the 10th month could be fatal to the mother, but mostly on a Monday night. But there are frequent records of practices which are eminently sensible and probably effective.
The oldest surviving medical documents in Old English are from the 9th century, but there is evidence that older texts were not all in Latin. Bald’s Leechbook, Leechbook III and Lacnunga are the most complete texts, all of them in the British Library. Bald’s Leechbook contains some of the best Mediterranean medicine from the 3rd to the 9th centuries, so the learning was by no means isolated. While some of the herbs mentioned in the texts were only available around the Mediterranean, there are directions for the use of materia medica traded from distant areas, frankincense, pepper, silk, ginger and myrrh.
500 years after the collapse of the Roman Empire in the west, medical practice relied less on the theories of Galen and Hippocrates, but there remained the process of diagnosis by urine-examination and the therapy of balancing the humours by bleeding. Bloodletting was widely used, sometimes causing infection itself, which was treated by herbal poultices; if the bleeding got out of control it could be stopped with horse-dung. A practical side to the control of infection is seen in the injunction not to let blood in summer, when infection would be most likely. There are warnings against taking too much blood, for example ‘if you let too much blood then there is no hope for his life’; presumably this happened on occasion.
Anglo-Saxon medical recipes corresponding to Book 2, Chapter 59 of Bald's Leechbook (London, British Library Harley MS 55, f. 1r)
There is little documentation of surgery, compared to other forms of healing, though the archaeological record indicates some successful trepanation, and later there are some gruesome images of how to treat haemorrhoids. The use of splints for broken limbs is mentioned only twice, texts offering salves and poultices as treatment for fractures. Wounds are to be sewn up with silk, which would gradually dissolve – there is even a description of surgery to correct a harelip. Poultices that had antiseptic effects were applied over sutured wounds, with herbs such as lesser centaury used to help healing.
The use of herbs, individually or together, was of great importance in medicine at this time; though there are difficulties in finding exactly corresponding names in the modern flora, many common native plants found some use in medicine. Imported plant matter was often added, so that a recipe in the Lacnunga for a wen salve includes pepper and ginger as well as radish, chervil, fennel, garlic and sage, in a list of 16 plants. Tested through the centuries, herbal remedies connect the past to the present – Bald’s Leechbook contains a recipe for a nettle-based ointment for muscular pain, similar ointments being commercially available now. Leechbook III contains a large number of remedies using only native ingredients; their names are not Anglicised Latin names, implying that this reflects a largely home-grown practice.
Materials other than herbs were also in use. One recipe, quoted in How to Cure the Plague, recommends eating buck’s liver for night vision loss, and indeed the Vitamin A in liver would help this condition. Unlike in Mediterranean medical practice, the use of animal faeces is recommended only rarely, but spittle, snails, urine, worms, weevils and ants are called for, as well as the less startling pigeon’s blood, lard and ale. On occasions the improbable and the feasible were combined, one recipe for a burn including silver filings, bear’s grease, thyme, rose petals and verbena.
Detail of Bald's Leechbook (London, British Library, Royal MS 12 D XVII, f. 20v).
Though learning was largely connected to the church, not all physicians were clerics. Prayers and charms were both used, but possibly the charms were less likely to be adminstered by priests. No doubt many charms worked through assurance and faith. One area that has interested me for a long time is the process of healing by touch at a remove. Bede, writing in the 8th century, tells the story of the death in battle of the Christian king Oswald, whose body was mutilated and set on a stake; people took soil from the place, put it in water, and used this to relieve the sick. While raising questions about the nature of touch and its continuing relevance (the desire to touch celebrities, the fascination of the possessions of the famous), this also provides an exact mirror to germ theory, and a model for both contagion and healing.
In our world of healthcare systems in crisis and general reliance on prescription or non-prescription medicines and a variety of alternative therapies, we are not so far from the charms and prayers, the herbal folklore and amulets of the Anglo-Saxons. Their frequent use of the number nine in healing rituals (charms or prayers are directed to be repeated nine times) may have been a way of marking the period of time for a salve to take effect or a mixture to boil, or may have been a ritual. A shadow of the ritualistic element perhaps survives in directions for antibiotics to be taken ‘three times a day for seven days’.
How to Cure the Plague and Other Curious Remedies is available from the British Library Shop, priced £10 (ISBN 9780712357012).
Julian Walker
07 October 2013
Fancy Another Giant List of Digitised Manuscript Hyperlinks?
As promised back in July, we have an updated list of digitised manuscripts to offer you, our loyal readers. This master list contains details of everything that has so far been uploaded by the Medieval and Earlier Manuscripts department, complete with hyperlinks to each individual record on our Digitised Manuscripts site. You can download the Excel spreadsheet here: Download BL Medieval and Earlier Digitised Manuscripts Master List 07.10.13
Miniature of King Alfonso V praising our spreadsheet as Bishop Juan de Casanova looks on, from the Prayerbook of Alfonso V of Aragon - a new arrival to our list! produced in Spain (Valencia), 1436-1443, Add MS 28962, f. 14v
We should have another new list for you in 3 months - happy hyperlink clicking!
- Sarah J Biggs
26 September 2013
Knight v Snail
Recently a group of us went into our manuscripts store to have a look at some medieval genealogical rolls. We were examining Royal MS 14 B V, an English roll from the last part of the 13th century that contains quite a lot of marginalia, when one of our post-medieval colleagues noticed a painting of a knight engaging in combat with a snail.
Knight v Snail (from a genealogical roll of the kings of England, England, 4th quarter of the 13th century, Royal MS 14 B V, membrane 3)
This struck him as odd, which struck the medievalists in the group as odd; surely everyone has seen this sort of thing before, right? As anyone who is familiar with 13th and 14th century illuminated manuscripts can attest, images of armed knights fighting snails are common, especially in marginalia. But the ubiquity of these depictions doesn’t make them any less strange, and we had a long discussion about what such pictures might mean.
Knight v Snail II: Battle in the Margins (from the Gorleston Psalter, England (Suffolk), 1310-1324, Add MS 49622, f. 193v. Read more on the gorgeous Gorleston marginalia, in our previous posts.)
There has been much scholarly debate about the significance of these depictions of snail combat. As early as 1850, the magnificently-named bibliophile the Comte de Bastard theorised that a particular marginal image of a snail was intended to represent the Resurrection, since he discovered it in two manuscripts close to miniatures of the Raising of Lazarus. In her famous survey of the subject, Lilian Randall proposed that the snail was a symbol of the Lombards, a group vilified in the early middle ages for treasonous behaviour, the sin of usury, and ‘non-chivalrous comportment in general.’ This interpretation accounts for why the snail is so frequently seen antagonising a knight in armour, but does not explain why the knight is often depicted on the losing end of this battle, or why this particular image became so popular in the margins of non-historical texts such as Psalters or Books of Hours.
Knight v Snail III: Extreme Jousting (from Brunetto Latini's Li Livres dou Tresor, France (Picardy), c. 1315-1325, Yates Thompson MS 19, f. 65r)
Other scholars have variously described the ‘knight v snail’ motif as a representation of the struggles of the poor against an oppressive aristocracy, a straightforward statement of the snail’s troublesome reputation as a garden pest, a commentary on social climbers, or even as a saucy symbol of female sexuality. It is possible that these images could have meant all these things and more at one time or another; it is important to remember, as Michael Camille, who devoted a number of pages to this subject, once wrote: ‘marginal imagery lacks the iconographic stability of a religious narrative or icon’. This motif was part of a rich visual tradition that we can understand only imperfectly today – not that this will stop us from trying!
Knight v Snail IV: The Snails Attack (from the Queen Mary Psalter, England, 1310-1320, Royal MS 2 B VII, f. 148r)
Some more of our favourite British Library images are below, and please let us know what you think. You can leave a comment below, or we can always be reached on Twitter at @BLMedieval.
Knight v Snail V: Revenge of the Snail (from the Smithfield Decretals, southern France (probably Toulouse), with marginal scenes added in England (London), c. 1300-c. 1340, Royal MS 10 E IV, f. 107r)
Knight v Snail VI: The Gastropod Conqueror (from the Gorleston Psalter, England (Suffolk), 1310-1324, Add MS 49622, f. 162v)
Knight v Snail VII: A Pretty Comprehensive Defeat (from a fragmentary Book of Hours, England (London), c. 1320-c. 1330, Harley MS 6563, ff. 62v-63r)
Knight v Snail VIII: Switcheroo! It's a Monkey This Time (from the Gorleston Psalter, England (Suffolk), 1310-1324, Add MS 49622, f. 210v)
Knight v Snail IX: Just for Fun: A Rabbit, Monkeys, and a Snail Jousting (from the Harley Froissart, Netherlands (Bruges), c. 1470-1472, Harley MS 4379, f. 23v)
Further Reading
Lilian Randall, ‘The Snail in Gothic Marginal Warfare’ Speculum 37, no. 6 (June 1962), pp. 358-367.
Michael Camille, Image on the Edge (Reaktion Books: London, 1992), pp. 31-36.
Carl Prydum, What’s So Funny about Knights and Snails?, http://www.gotmedieval.com/2009/07/whats-so-funny-about-knights-and-snails.html
Visit our Medieval England and France website to discover how to make a medieval manuscript, to read beastly tales from the medieval bestiary, and to learn about medieval science, medicine and monastic libraries.
- Sarah J Biggs
20 September 2013
The Luscious Luttrell Psalter
At long last, every glorious page of the Luttrell Psalter, bursting with medieval vitality, is available on our Digitised Manuscripts site here: Add MS 42130.
Historiated initial 'B'(eatus vir) of King David playing the harp, at the beginning of Psalm 1, from the Luttrell Psalter, England (Lincolnshire), c. 1320-1340, Add MS 42130, f. 13r
The Luttrell Psalter is justifiably considered one of the British Library’s greatest treasures. It was created c. 1320-1340 in Lincolnshire, England, and takes its name from its first owner and patron, Sir Geoffrey Luttrell (1276-1345). The Luttrell Psalter is perhaps best known for its wild profusion of marginal and hybrid creatures as well as its hundreds of bas-de-page illuminations (stay tuned for a blog post on these subjects!). Many of these contain some remarkable and detailed scenes of daily life in the rural medieval England of the 14th century.
Please have a look through the Luttrell Psalter online; we are always interested to hear about what you find compelling. Feel free to tag us in some of your finds on Twitter @BLMedieval. Here are a (very) few of our favourite images from this magnificent manuscript:
Sir Geoffrey Luttrell, mounted in full regalia, attended by his wife and daughter-in-law. The elaborate display of family heraldry leaves the observer in no doubt as to the power and importance of this family. However, the fish-like creature above is unimpressed; note the grimace on his orange face! From the Luttrell Psalter, England (Lincolnshire), c. 1320-1340, Add MS 42130, f. 202v
There is always something new to discover in the marginalia. This artist had real imagination – say no more! From the Luttrell Psalter, England (Lincolnshire), c. 1320-1340, Add MS 42130, f. 27r
Scenes from daily life in the 14th century: a young lady at the ‘hair salon’. The creature on the right doesn’t seem to think much of her new hairstyle! From the Luttrell Psalter, England (Lincolnshire), c. 1320-1340, Add MS 42130, f. 63r
Every page is a feast for the eyes: this one containing part of Psalm 6 does not have the largest or most impressive images. But the ensemble: the regular gothic script (most letters requiring at least 4 pen-strokes), the gorgeous pastel colours of the borders and decorations, with splashes of luminous gold, and the matching shapes of the three elongated creatures providing amusement and focus, all combine to create a satisfying and harmonious whole. From the Luttrell Psalter, England (Lincolnshire), c. 1320-1340, Add MS 42130, f. 18v
And if you want to see the Luttrell Psalter ‘in the flesh’, please visit our Treasures Exhibition in the Sir John Ritblat Gallery at the British Library, where it is on display with many other treasures from our collections.
Chantry Westwell
06 September 2013
Seamus Heaney: An Appreciation
It is a week since Famous Seamus sadly passed away. Seamus Heaney, Nobel Laureate for Literature, came to the British Library as part of our Beowulf week in October 2009. In front of an enthralled audience, he read extracts from his award-winning translation of Beowulf. Heaney then listened in turn as Michael Morpurgo and Benjamin Bagby performed their respective versions of the poem, before all three discussed Beowulf under the expert chairmanship of Michael Wood.
The Beowulf event at the British Library in 2009, featuring (from left to right) Michael Wood, Michael Morpurgo, Benjamin Bagby and Seamus Heaney
As a curator at the British Library, it's always rewarding to find ways of making our medieval manuscripts come to life, and to demonstrate how they remain relevant to modern and future generations. Seamus Heaney's participation in our week of Beowulf events was a notable highlight -- how to take an epic written in a long-dead language, and to re-invent and re-interpret it for modern listeners.
Heaney's version of Beowulf had won the Whitbread Prize for Book of the Year in 1999. Around that time, the British Library acquired from him nine typewritten drafts, with handwritten annotations, of the first page of his version of Beowulf (Additional MS 78917). When visiting us in 2009, Seamus Heaney expressed his delight to see examples of his draft displayed alongside the original manuscript of Beowulf, together with paintings loaned by Michael Foreman, the illustrator of Michael Morpurgo's re-telling of the story for children.
A draft of Seamus Heaney's award-winning version of Beowulf (London, British Library, MS Additional 78917).
Before appearing onstage at the British Library, Seamus Heaney had attended the previous evening's performance by Benjamin Bagby, who sings the story of Beowulf and Grendel in the original Old English, to the accompaniment of the harp. I gave Heaney a copy of our Treasures in Focus introduction to Beowulf, and he very kindly signed my own copy of his Beowulf translation. I thanked him for so kindly agreeing to perform in our event; but no, the pleasure was his, he replied, it had been a privilege to see Bagby sing Beowulf, the poem which Seamus Heaney had in turn transformed into a modern masterpiece. It was one of those truly special moments, to witness the coming together of two great poets, wordsmiths who lived a thousand years apart but were united by their love of the poetic form.
The Old English poem Beowulf ends with the burial of the eponymous hero. We can do Seamus Heaney no better compliment than to repeat here the same lines in his own words, with the gracious permission of Faber and Faber, his publishers.
"Then twelve warriors rode around the tomb,
chieftain's sons, champions in battle,
all of them distraught, chanting in dirges,
mourning his loss as a man and a king.
They extolled his heroic nature and exploits
and gave thanks for his greatness; which was the proper thing,
for a man should praise a prince whom he holds dear
and cherish his memory when that moment comes
when he has to be convoyed from his bodily home."
Julian Harrison, Curator of Pre-1600 Historical Manuscripts
Medieval manuscripts blog recent posts
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- A medieval midsummer
- Alas, poor Hamlet
- Shakespeare's only surviving playscript now online
- Remembering Anglo-Saxon Kingdoms: Art, Word, War
- Your plain friend without flattery
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