Medieval manuscripts blog

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334 posts categorized "Featured manuscripts"

22 April 2015

Ointments and Potions

We have recently published to Digitised Manuscripts a Dutch scientific manuscript of the early 16th century containing a cornucopia of scientific texts (Sloane MS 345), from prescriptions for ointments and suppositories, to a treatise on varnishes for the conservation of paintings, to a recipe for brandy or aqua vitae. Some of the texts are in Latin and others in Middle Dutch.

The format is of a plain, workaday text, a collection that was probably compiled for a physician and was in fact in the collection of Francis Bernard (d. 1698), apothecary and physician to King James II of England in the seventeenth century.

A page from a Dutch scientific compendum, showing a number of recipes.

Page of recipes with the rubrics ‘Gebrande wyn te maken’ and ‘de aq[ua] viva’ in the margin, from a Dutch scientific compendium, the Netherlands, c. 1500, Sloane MS 345, f. 50v

One of the key texts is the ‘Regimen sanitatis Salernitanum’, a collection of didactic verse on health, diet and medicine, put together for oral transmission by doctors at the School of Salerno, Italy, and assembled in written form in the 13th century by Arnoldus de Villa Nova (b. c. 1240, d. 1311), professor of medicine. He is credited with coining the label ‘aqua vitae’, which he described as ‘a water of immortality….that clears away ill-humours, revives the heart and maintains youth’. It is interesting to note that in this manuscript, ‘aqua vitae’ or ‘gebrande wyn’ in Middle Dutch, is found in a collection of culinary recipes rather than among the medicinal waters, suggesting that it was starting to be seen as more of a lifestyle choice than a medicine in the early 16th century.

A page from a Dutch scientific compendium, showing the text of a letter.

Arnoldus de Villa Nova, 'T[ra]ctat[us] de laudibus virtutib[us] querci', a letter to Richard, Bishop of Canterbury, from a Dutch scientific compendium, Netherlands, c. 1500, Sloane MS 345, f 15r

A further contribution by Arnoldus de Villa Nova is a letter to Richard, Bishop of Canterbury, on the medicinal properties of the oak tree. Oak bark was used to treat infections, burns and cuts.

There are several collections of recipes for medicinal waters and herbal remedies. Here is an image from another manuscripts showing the apparatus used for alchemical processes and to prepare alcohol for medicinal uses and for the infusion of herbs, from Sloane MS 3548, a 15th-century English manuscript.

A page from a 15th-century medical miscellany, showing drawings of scientific apparatus.

Scientific apparatus from John Arderne, Medical Miscellany, England, 15th century, Sloane MS 3548, f. 25r

A work on the treatment of wounds is attributed in Sloane MS 345 to the young Lanfranc of Milan and a treatise, ‘De signis mortis’, gives examples of skin conditions and pustules indicating impending death. This treatise includes the Hippocratic facies, the description of a countenance often present at the verge of death, still used in medical prognosis today.

This image is from Sloane MS 6, another manuscript of John Arderne’s medical works. It shows Hippocrates (or Galen) holding up what is perhaps a urine glass to the sun on the lower left page.

An opening from a 15th-century copy of a treatise by John Arderne, showing drawings of medical practitioners and diagrams.

Drawings of medical practitioners at work and medical diagrams from John Arderne, Medical treatise, England, 2nd quarter of the 15th century, Sloane MS 6, ff. 175v-176r

Sloane MS 345 also contains medical works such as Chirurgia Parva (ff 118r-127v) and Liber de matrice mulieris et impugnatione (ff 128r-130r),attributed to Johannes de Ketham, a German physician living in Italy at the end of the 15th century. His Fasciculus medicinae, published in Venice in 1491, was the first printed book to contain anatomical illustrations.

De Ketham’s treatise on the conservation of easel paintings, De diversis coloribus picturis et tincturis contains recipes for pigments, oils, painting and guilding, provides insights into the techniques or materials used by Dutch artists in the early 16th century.

A page from a copy of the Gospels of St Luke and St John, showing a portrait of St Luke painting at an easel.

St Luke at his easel painting the Virgin, Gospels of Luke and John, England, S.E. , 1st quarter of the 16th century, Royal MS 1 E V, f. 3r

Sloane 345 is a treasure trove of information on medical practices and remedies, but so as not to disappoint our readers who would like to see more graphic representations of medieval medical practices, here are two examples from other medical manuscripts in our collections.

Harley MS 1585 is another Dutch manuscript, this time from the southern Netherlands in the 12th century, a medical miscellany with a pharmacopeial compilation, including a herbal and bestiary. The full online version is available on Digitised Manuscripts.

A page from a medieval manuscript, showing an illustration of medical and surgical procedures.

Miniature of medical and surgical procedures, inscribed 'a podagric is incised and burned thus', Netherlands, S. (Mosan region), or England? Harley MS 1585, f. 9r

Sloane MS 1977 is a collection of medical texts including Roger of Parma’s Chirurgia , translated into French, with full-page illustrations. It was in the Royal library in the 16th century, but later became part of the scientific collection of Sir Hans Sloane. It is partially digitised in our Catalogue of Illuminated Manuscripts.

A detail from a medieval surgical handbook, showing an illustration of a doctor performing an operation on a patient's skull.

An operation to repair a compound fracture of the skull, France, N. (Amiens), 1st quarter of the 14th century, Sloane MS 1977, f. 2r

Chantry Westwell

18 April 2015

The Devil is in the Detail: A Thirteenth-Century Bible Moralisée

 

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Detail of a medallion with souls being taken by demons and placed in a cauldron, from a Bible moralisée, France (Paris), 2nd quarter of the 13th century, Harley MS 1526, f. 21r

Bibles moralisées (‘Moralised Bibles’) were a source of instruction and status for the royalty of thirteenth-century France. In these intensely illustrated Bibles, the images play a more fundamental role than the text. Each page features eight medallions accompanied by a thin column of text, which together represent extracts from the Bible followed by moralisations. These incredible picture books are precursors of the Bible pauperum, which you might remember from one of our previous blog posts.

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The temptation of Jesus in the wilderness (Matthew 4:1-10), and John beholds Jesus (John 1:35-36), from a Bible moralisée, France (Paris), 2nd quarter of the 13th century, Harley MS 1527, f. 18v

Harley MS 1526 and Harley MS 1527 form the final part of a Bible moralisée now divided between three cities: Paris (Bibliothèque nationale de France, MS latin 11560), Oxford (MS Bodley 270b) and London. Together the Paris-Oxford-London volumes cover material from almost all of the books of the Bible and feature close to 5,000 illustrations!

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Medallions depicting the Apocalypse, Harley MS 1527, f. 136v

Monks Behaving Badly

In order to edify the book’s royal owners, there are many depictions of moral transgressions to avoid, such as greed and lustfulness. In most of these images, however, the figures succumbing to sin are not members of the laic aristocracy, but misbehaving members of the clergy!

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Detail of a medallion with a queen holding a chalice, a cleric with a demon on his back embracing a woman, and another sipping wine, Harley MS 1527, f. 49v

 

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Detail of a medallion with a couple kissing whilst others listen to a sermon, Harley MS 1527, f. 95r

 

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Detail of a medallion with monks being seduced, Harley MS 1527, f. 96v

 

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Detail of a medallion with two monks embracing a woman, Harley MS 1527, f. 115r

 

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Detail of a medallion with a monk kissing a woman, Harley MS 1527, f. 110v


You can now explore both Harley MS 1526 and Harley MS 1527 in full on our Digitised Manuscripts website!

- Hannah Morcos

07 April 2015

A Giant from Our Collections: The Stavelot Bible

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Historiated initial 'I' ('In principio'), at the beginning of Genesis, fully painted and gilded, with roundels containing scenes relating to Genesis and Christ, from the Stavelot Bible, Netherlands, S. (Stavelot), 1094-1097, Add MS 28106, f 6r.

Readers of our blog will know that our manuscripts come in all shapes and sizes, and they vary from Books of Hours so tiny that they can fit in the palm of one’s hand, to enormous tomes that are almost impossible for one person to lift. Each of the two volumes of the Stavelot Bible exceeds the aircraft carry-on limit, with dimensions of 58 x 39cm, and weighing 40 lb, and the whole work takes four people to carry, two for each volume. Fortunately for scholars, bodybuilding is no longer a requirement to look at this manuscript as it has now been fully digitised and is available online as Add MS 28106 and Add MS 28107.

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Canon tables, from the Stavelot Bible, Add MS 28107, f 139v

The writing, decoration and binding of this monumental Bible, made for the Benedictine abbey of Stavelot, near Liège, southern Netherlands, took four years to complete, and was finished in 1097.

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Illuminated initial at the beginning of the Book of Samuel, showing the Amakelite bearing the crown of the dead Saul into David’s camp (below), then presenting Saul’s insignia to David (middle) and the executioner holding up the severed head of the Amakelite over his twisted body (above), from the Stavelot Bible, Add MS 28106, f 109r

Two monks involved in its production, Godderan and Ernesto, are identified in an inscription, although their roles are not specified: Godderan may have been the sole scribe, and Ernesto one of the artists. Its great size and legibility of script indicates that it would have been the principal Bible of the abbey, possibly used for daily services or for display on the high altar.

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‘ET’ at the beginning of the Book of Joshua, with (above) the hand of God coming down to Joshua, shown from the back, in a pose characteristic of the Stavelot artist, and (below) Joshua addressing three followers, from the Stavelot Bible, Add MS 28106, f 75v

This image, which appears before the beginning of the New Testament, is one of the great monuments of early Romanesque art. It shows Christ in Majesty, holding a book and a Greek cross, with the globe of the earth under his feet, surrounded by the symbols of the Four Evangelists.

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Christ in Majesty, from the Stavelot Bible, Add MS 28107, f 136r

The two volumes of the Stavelot Bible contain 45 historiated initials in all.  Unfortunately in some places initials have been cut out and blank spaces remain.

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Text page with missing image from the Stavelot Bible, Add MS 28106, f 144v

Not all initials are historiated. In this masterful composition from the beginning of the Liber Generationis in Matthew’s Gospel, the shape follows the outlines of the letter ‘L’ and animal and human forms struggle to escape from the swirling vines. 

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Decorated initial ‘L’(iber) at the beginning of Matthew’s Gospel, from the Stavelot Bible, Add MS 28107, f 142v

 - Chantry Westwell

05 April 2015

The Divine Comedy Now Online

For those who enjoyed our blogposts on Dante’s Divine Comedy last year, the manuscript containing the images, Egerton MS 943, has now been published on Digitised Manuscripts. Here are a few of our favourite miniatures from this gorgeous manuscript, produced in northern Italy in the first half of the 14th century for a patron whose identity is unknown.

Inferno: In this part Dante is guided through Hell by Virgil and sees the torments of the Damned.

 

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Dante and Virgil arrive at the gates of hell. Divina Commedia, Italy, N. (Emilia or Padua), late 14th century, London, British Library, Egerton MS 943, f 6v

 

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Dante and Virgil watch as a sinner is attacked by a Dragon. Divina Commedia, Italy, N. (Emilia or Padua), late 14th century, London, British Library, Egerton MS 943, f 45r

 

Purgatorio: Virgil and Dante climb out of Hell into Purgatory, where they meet the souls doing penance and climb the seven terraces representing the seven levels of suffering and spiritual growth.

 

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A boat bringing the souls over the water to Purgatory, escorted by an angel. Divina Commedia, Italy, N. (Emilia or Padua), late 14th century, London, British Library, Egerton MS 943, f 65r

 

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Dante and Virgil watch the clouds of smoke of the wrathful souls; they pass through the dark clouds. Divina Commedia, Italy, N. (Emilia or Padua), late 14th century, London, British Library, Egerton MS 943, f 91r



Paradiso: In the third and final part, Dante is guided through Paradise by his lady love, Beatrice, who instructs him on the virtues of the seven celestial spheres and finally they enter the presence of the Divine.

 

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Beatrice explaining the order of the universe to Dante.Divina Commedia, Italy, N. (Emilia or Padua), late 14th century, London, British Library, Egerton MS 943, f 130r
 
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Dante and Beatrice look up at the sources of pure light in heaven. Divina Commedia, Italy, N. (Emilia or Padua), late 14th century, London, British Library, Egerton MS 943, f 179v

- Chantry Westwell

02 April 2015

A Calendar Page for April 2015

To find out more about the London Rothschild Hours, take a look at our post A Calendar Page for January 2015

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Calendar page for April, with decorative border comprising a Zodiac sign, architectural column and roundels, and bas-de-page scene, from the London Rothschild Hours, Southern Netherlands (?Ghent), c. 1500,
Add MS 35313, f. 3r 

A pastoral scene greets us on the calendar page for April, with budding leaves on the trees heralding the onset of spring. Sheep and their lambs, a goat and two oxen are being shepherded out from half-timbered barns, to graze in the fields beyond. A cockerel, hens and their hatchlings scrabble about in farmyard, while in the background a woman stands churning milk for butter. The roundels depict the two main feast days for the month – for St George (on horseback, vanquishing a dragon with his lance) and for St Mark (seated at his desk and accompanied by his emblem, a winged lion). Taurus the Bull – the Zodiac sign for April – is standing at the head of page. 

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Detail of a bas-de-page scene of animals being let out to graze,
Add MS 35313, f. 3r 

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Detail of a roundel depicting St George and the dragon,
Add MS 35313, f. 3r

- James Freeman

21 March 2015

True Nobility and Plagiarism

Being a royal librarian could be a lucrative business in the fifteenth century, as the career of Quentin Poulet illustrates. Born in Lille, he went from obscure scribe in a book-producer’s confraternity in Bruges in 1477-78, to keeper of the library of Henry VII in 1492. From the few records of his life that survive, we know that on 26th July 1497, he was paid £23 sterling for ‘a boke’ with a bonus of 10 marks on top from the royal purse. The ‘boke’ in question may well be Royal MS 19 C VIII, a copy of the Imaginacion de la vraie noblesse, which has just been photographed and uploaded to Digitised Manuscripts. 

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Miniature showing the young knight observing an archer and a carter as models for princely conduct, surrounded by a naturalistic scatter border, from the Imaginacion de la vraie noblesse, London and Bruges, c. 1496-97,
Royal MS 19 C VIII, f. 41r 

One might imagine why Henry was so chuffed with the present. The text is a knightly ‘mirror’ text, intended to offer moral guidance and instruction in courtly behaviour to its aristocratic reader – and what better reader than the ten-year-old Arthur Tudor, prince of Wales? For the heir apparent to Henry VII, this book could plausibly have formed part of his schooling. It offers edifying exempla: from the three aspects of nobility – love of God, love of justice, and love of good reputation – personified as three women, to the virtues embodied by the archer (his skill of focusing on a target) and the carter (his determination, or drive if you’re in the mood for a pun!). It warns how poor counsellors can lead a prince astray, while illustrating the divine right of kings in ruling over their realms. 

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Detail of the colophon of Quentin Poulet,
Royal MS 19 C VIII, f. 97v 

Poulet copied the manuscript himself, writing the text in an elegant Bâtarde script – a style of handwriting common among manuscripts produced under the patronage of the Burgundian court (as illustrated by the copy of the Mystère de la Vengeance made c. 1465 for Philip the Good, acquired last year by the British Library and now Add MS 89066/1 and Add MS 89066/2). 

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Miniature of Lady Imagination taking her leave of the young knight at the end of his pilgrimage, with the city of Halle in the background,
Royal MS 19 C VIII, f. 90r 

The text was not widely known in England: the only other known insular copy was made for Richard Neville, earl of Warwick, in 1464 (now Geneva, Bibliothèque publique et universitaire, MS fr. 166). Its obscurity may explain why Poulet was able to pass the work off as his own. The narrative frame of a pilgrimage from Lille to Halle (which town is illustrated in the background of many of the miniatures), and its attribution to a member of a prominent Flanders family, Hugues of Lannoy, also explain the text’s appeal to Poulet. 

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Detail of an historiated initial depicting the presentation of the manuscript by Quentin Poulet to Henry VII,
Royal MS 19 C VIII, f. 1r 

Poulet cannily repackaged the text, changing the title slightly from the Enseignement to the Imaginacion de la vraie noblesse, prefacing it with his own dedicatory introduction, and incorporating his name into the colophon at the end (which records the manuscript’s completion at the royal palace of Sheen on 30th June 1496). A historiated initial at the beginning of the preface depicts Poulet kneeling before Henry VII and offering him the book. 

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Miniature showing the young knight a man with severed arms, illustrative of his lack of honour, surrounded by a naturalistic scatter border and animal-rebus on the name of Quentin Poulet,
Royal MS 19 C VIII, f. 32v – this image may be familiar to you from our Valentine’s Day post, An Illustrated Guide to Medieval Love 

Poulet also had his name encoded into the decoration, in the form of a chicken (‘un poulet’, in French) emerging from a shell in one of the scatter borders that surround the miniatures. These borders contain naturalistic flowers and plants (pansies, roses, carnations and strawberry sprigs), animals, birds and insects (a bear, a jay, a grouse, an owl, a fly and a butterfly), and a cheeky monkey that is aping the gestures of the young knight (for more monkey business, take a look at our earlier post, Apes Pulling Shapes). 

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Miniature showing Lady Imagination introducing the young knight to the Three Aspects of Nobility, embodied as young women, surrounded by a naturalistic scatter border,
Royal MS 19 C VIII, f. 11r 

The manuscript contains six large illustrations, which were completed by the Bruges illuminator known to modern scholarship as the ‘Master of the Prayer Books of Around 1500’. (A note was added in pencil to f. 81v by Frederic Madden in 1845, drawing attention to the loss of the following leaf, which presumably contained a seventh miniature). His work is also found in Harley MS 4425, featured on this blog in our posts Sex and Death in the Roman de la Rose and The Height of Fashion, and Royal MS 16 F II, a compilation including poetry by Charles of Orléans.  The British Library also holds one other copy of the Enseignement – Add MS 15469 – another illustrated but much less lavish production on paper.

- James Freeman

10 March 2015

The Greek Manuscripts of Robert Curzon, Part I

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Front cover of Add MS 39603 (binding of wooden boards covered with blue velvet, much worn. On both covers is a cross with a patterned border, between corner-ornaments, all gilt)

In Saturday's blog post, we featured Add MS 39591, a manuscript that was ‘improved’ in the 19th century for its owner Robert Curzon, 14th Baron Zouche. Today, we provide the first of a two-part guide to Curzon’s Greek manuscripts. Most of the 42 Greek manuscripts from Curzon’s collection have now been digitised as part of the Greek Manuscripts Digitisation Project. Curzon’s manuscripts are especially significant for two reasons: first, he almost always leaves detailed notes about his acquisition of individual items in the manuscripts (much material for future #FlyleafFridays here!), and second, a large number of his manuscripts retain Byzantine-style bindings. For these reasons, details are given below of provenance and/or bindings where these are particularly interesting or significant.

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Add MS 39583, f 20r. Miniature of St Mark in the Byzantine style of the ?13th century, probably from a Greek Gospel-book

Add MS 39583. Fragments collected by Robert Curzon to illustrate the history of writing. The volume originally contained both Western and Oriental fragments, but the latter have now been transferred to their appropriate departments (Egyptian Antiquities, British Museum, and Asian and African Studies, British Library). The Greek contents are a fragment of a Greek Gospel lectionary (Gregory-Aland l 182); a leaf from a manuscript containing Ephraem the Syrian, Sermo Compunctorius (CPG 3908); and a miniature of St. Mark in the Byzantine style of the ?13th century, probably from a Greek Gospel-book.

Add MS 39584. Parchment roll containing Ἀκολουθία τῶν Ἐγκαινίων: Office for the dedication of a church, with connected or similar offices. 14th century. This roll has been photographed and will appear on Digitised Manuscripts in the coming weeks.

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Add MS 39585, front cover

Add MS 39585. Octateuch (Rahlfs 426), imperfect. 11th century, possibly written in Constantinople, where it was by the early 15th century. Bound in boards covered with black leather, blind-tooled with a plain double-line border and a saltire cross, fastened by a leathern thong. On the front cover has been fastened a late Byzantine icon (which may be as late as the sixteenth cent.), given to Curzon (according to a note inside the cover, f i) at Jerusalem by his English servant, William Fuller. It is attached to the binding by a silver frame, in the corners of which are set four stones from Mount Sinai, while in each of the upper lower rims are six stones from the bed of the Jordan. The icon is on wood. The faces are raised, perhaps by means of wax, and the whole is varnished. A double row of saints is shown, which are as follows:-Top row, St John the Baptist, St Nicholas, St George, St Demetrios, Bottom row, Prophet Daniel, Holy Barnabas, Holy Sophronios, St Christophoros. The fore-edge image is listed on Digitised Manuscripts as f vi recto. Curzon acquired the manuscript at the Monastery of St Sabba near Jerusalem (f iii recto).

Add MS 39586. Psalter and Canticles (Rahlfs 1090), with later additions on extra leaves, original and inserted, at beginning and end. Much-defaced miniature of the Psalmist, f 1v. Decorated headpiece, f 2r. Initials, headings and points in red. Some scribblings and drawings in the margins. Early 11th century. Bound in boards covered with blind-tooled leather, originally red (17th century), each studded with five brass bosses, most of which are lost, and with traces of a clasp. On the board of the front cover (f i recto) is written Γαβρηλ Βγ. The fore-edge can be viewed on Digitised Manuscripts as f viii recto. Acquired at the Karakallou Monastery on Mount Athos, according to Curzon’s printed catalogue, though a note in the manuscript (f iv recto) states that the MS was bought from the Monastery of St. Sabba, near Jerusalem.

Add MS 39587. Psalter (Rahlfs 1091). According to Rahlfs, this manuscript and Add MS 39588 (Parham MS VI) were originally a single manuscript. 12th century. Binding is half black, modern English, by Charles Lewis, of black velvet studded on each cover with five silver bosses of open work in silver set with crystals. Acquired at the Monastery of St Sabba near Jerusalem (f i recto).

Add MS 39588. Canticles and other Services, imperfect (Rahlfs 1091), the continuation of the previous manuscript. 12th century. Initials and decorated headpieces in red. Two rough drawings on f 40v. Binding of brown leather. A note by Curzon on f i recto states 'I forget whether I got this MS. at Therapia, of an old woman, who lived at the top of the hill, behind Ld. Ponsonby's stables; from whom I got 4 bad MSS. of the 16th century or whether I got it at Athens, from a certain schoolmaster'. Rahlfs' belief that this manuscript was originally part of Add MS 39587 makes it more probable that Curzon acquired it at St Sabba (the source of Add MS 39587)

Add MS 39589. Psalter (Rahlfs 1092) with introduction and commentary based on that of Euthymius Zigabenus (PG 128), attributed in the manuscript to Nicephorus Blemmydes, imperfect. 2nd half of the 12th century. Initials and headings in red. Ornamental headpieces in red and green before the introduction to the commentary and the Psalter (ff 1r, 12r). On f 11v are the remains of a miniature, representing the Psalmist. Almost all the colour has flaked off, leaving only the outlines; the nimbus was of gold, and Δα(υεί)δ is written in red on the right of the head. Modern binding of blue velvet. Purchased by Robert Curzon in Therapia in 1837 for 1 dollar (f i recto).

Add MS 39590. New Testament, without the book of Revelation (Gregory-Aland 547). Contains Euthalian prefaces to the Epistles and prefatory notes and epigrams to the Gospels. 11th century, the flyleaves are taken from a 10th-century manuscript of sermons by John Chrysostom. In wooden boards covered with brown leather (possibly 15th century), blind-tooled, with ornamental borders and stamped medallions containing dogs, etc., metal bosses in the middle and at the four corners, several of which have been lost and, in two cases, replaced by modern nails. The fore-edge is listed on Digitised Manuscripts as f ix recto. Acquired at the Karakallou Monastery on Mount Athos (f ii recto).

Add MS 39591. Four Gospels (Gregory-Aland 548). At the end a 14th-century hand has added the oikoi (acrostic "αβγ-ο") from the Office of the Akathist. Mid-12th century. Initials, titloi, and numbers of Ammonian sections in gold and over red. Headpieces illuminated in gold and colours. Before each Gospel is a miniature of the Evangelist. The first of these (f iii verso) is modern, and it is not certain that there was an original miniature of St Matthew. The three original miniatures (ff 44v, 70v and 124v) have in each case a plain gold ground and show the Evangelist seated. These were significantly overpainted at the same time as the miniature of St Matthew was added.The first 8 lines of St. John's Gospel are written in gold over red. Some of the earlier folios (ff 2r-4r, 15v-16r) have been furnished with neums in red, and notes of lessons have been made as far as f 5r, in both cases by a later hand. The manuscript was "improved" for Robert Curzon in the 19th century.

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Add MS 39592, front cover

Add MS 39592. Four Gospels (Gregory-Aland 549), with marginal commentary. 11th century. Gospel headings and initials on the first page of each Gospel in gold; other initials in magenta. Bound in a comparatively modern binding of boards covered with red velvet, with a leaf-like plate of silver-gilt at each corner, formerly clasped by cords of red and yellow. Images of the fore-edges can be foudn on Digitised Manuscripts as ff iii-v. Acquired at the Xenophontos Monastery on Mount Athos (f i recto).

Add MS 39593. Four Gospels (Gregory-Aland 550), with prefaces taken from the commentary of Theophylact, and synaxaria. 12th century. Decorated headpieces. Initials, lists of chapters, Ammonian section-numbers, and lection notes in red, much-faded. Binding of boards covered with black leather, blind-tooled, with cross on front cover, much rubbed. Acquired at the Karakallou Monastery on Mount Athos (f 2v).

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Front cover of Add MS 39594

Add MS 39594. Four Gospels (Gregory-Aland 551), with capitula, Ammonian sections, lection notes, and subscriptions. 12th century. Followed by synaxaria, added on paper in the late fifteenth century. Full-page miniatures of the Evangelists. Illuminated headpieces and initials. Other initials, headings, titloi, lection notes, and section numbers in varying tints. Binding is probably 16th century. Boards covered with dark brown leather. The upper cover has a blind-stamped border with a cross in the middle, the spaces left being filled irregularly with stamped designs, rosettes, rings containing birds, etc. The lower cover has a more regular pattern, also blind-stamped, a border enclosing a panel divided by diagonal lines crossing, the spaces being occupied by conventional designs. The fore-edge can be viewed on Digitised Manuscripts as f ii recto. Acquired at the Karakallou Monastery on Mount Athos (f i recto).

Add MS 39595. Four Gospels (Gregory-Aland 552). 2nd half of the 12th century. Illuminated headpieces and initials. The first page of each Gospel is written in gold over magenta. Initials and titloi in magenta. In a binding of wooden boards, covered with brown leather, probably 16th-17th century, with a blind-tooled pattern of a saltire in a panel. Acquired at the Monastery of St Sabba (f iii recto).

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Add MS 39596, fore-edge

Add MS 39596. Four Gospels (Gregory-Aland 553). 13th century. Illuminated headpieces and Gospel initials. Titloi, chapter-numbers, subscriptions, intials, and capitula in red. Binding of wooden boards covered with dark brown leather, probably 16th century. The fore-edge can be viewed on Digitised Manuscripts as f iv recto. Acquired at the Monastery of St Sabba (f i recto).

Add MS 39597. Four Gospels (Gregory-Aland 554). Written in 1272. Illuminated headpieces and Gospel initials, other initials and titloi in red. Binding of blind-panelled black leather over wooden boards, 16th-17th century. Acquired at the Monastery of St Sabba for 10 dollars (f i recto).

Add MS 39598. New Testament, Acts and Epistles (Gregory-Aland 910), with Euthalian headings, preceded by Dorotheus of Tyre, Index Apostolorum et Discipulorum. Completed in 1009. Decorated headpiece in red and black before Acts. Headings, subscriptions and the first few words of each paragraph in red. Binding of wooden boards, covered with black leather: 16th-17th cent. Acquired at the Monastery of St Sabba (f ii recto).

Add MS 39599. New Testament, Acts and Epistles (Gregory-Aland 911), with ekphonetic neums, lection notes, and a marginal commentary, being a combination of the commentaries of Theophylact and Oecumenius on Acts, an abbreviated version of the commentary of Oecumenius on the Pauline Epistles, and a selection from the text now in Cramer's Catena (1840) on the Catholic Epistles. Imperfect at the end. The volume also contained Revelation, which was cut out by the Hegoumenos of the Karakallou Monastery, and which is now bound separately as Add MS 39601 (see below). The missing portion of the Catholic Epistles, now lost, may have been cut out at the same time. 11th century. In boards covered with brown leather, blind-tooled with a panel pattern and varnished, perhaps of the 16th century. Acquired at the Karakallou Monastery on Mount Athos (note on the inside front cover).

Add MS 39600. New Testament, Acts and Epistles (Gregory-Aland 912), with the prefaces of Euthalius and Theodoret. 13th century. Decorated headpiece in red at the beginning of Acts. Initials, subscriptions, titloi, and lection notes in red. The manuscript also contains a line-engraving of the Monastery of Simonopetra, dated 1836, which was included in the volume when it was rebound in red velvet in the 19th century. Acquired at the Simonopetra Monastery on Mount Athos (f i recto).

Add MS 39601. Revelation (Gregory-Aland 911 [=2040]), imperfect at the end, expl. 20:11, καὶ ὁ οὐρανός, καὶ τόπος, with a marginal commentary by Andreas of Caesarea, Commentarii in Apocalypsin (TLG 3004.001). Originally part of Add MS 39599 (see above), but the hand of the text (perhaps not that of the commentary) is different and a good deal smaller. 19th century binding of red velvet. Acquired at the Karakallou Monastery on Mount Athos (f ii verso).

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Add MS 39602, front cover

Add MS 39602. Gospel lectionary (Gregory-Aland l 181). Written at Ciscissa in Cappadocia for the bishop Stephanos in 980: f 220v.Revised by Michael, a notary, at Ciscissa in 1049: f 221r. There is a note in Georgian on f 1r, discussed in a blog post by Adam McCollum. Decorated head-pieces and initials in red and blue, headings and neumes in red. A number of the initials are of zoomorphic or anthropomorphic form, e.g. O in the form of a fish (ff 6r, 138v, 157v), and E with a human hand for a cross-bar (ff 1r, 7v). Bound in red velvet with a clasp, the front cover studded with five gilt buckles. Acquired at the Karakallou Monastery on Mount Athos, according to Scrivener, Codex Augiensis p. 51.

Add_ms_39603_f112r
Add MS 39603, f 112r, text in the shape of a cross

Add MS 39603. Cruciform Gospel Lectionary (Gregory-Aland l 233). 12th century. Illuminated initials and finial ornaments at each angle of the cruciform text. Fully illuminated cruciform borders enclose the text on ff 1r, 42r, 112r. Tail-piece on f 196v. Neums in red, headings and rubrics in gold over red. The first two pages of text are also in gold over red. Modern but not recent binding of wooden boards covered with blue velvet, much worn. On both covers is a cross with a patterned border, between corner-ornaments, all gilt. The cross on the front cover has the inscription "IC XC NIKA".

Keep an eye out on the blog for the second part of this journey through the manuscripts of Robert Curzon, which will also include a bibliography.

- Cillian O’Hogan

07 March 2015

Spot the Difference!

Illuminated manuscripts of the Gospels often have portraits of the Evangelists preceding individual Gospel books. This is because leaves at the beginning and end of manuscripts tend to be the most likely to be lost or damaged, especially if manuscripts are left unbound for some time. You can see many examples of manuscripts with somewhat discoloured first and last leaves on Digitised Manuscripts

What this means for Gospel manuscripts is that St Matthew is on occasion missing from volumes nowadays  - this is the case, for instance, in Add MS 24376 (Gregory-Aland 696), a Greek Gospel book we have looked at previously on the blog. Today, we’re highlighting a rather unusual manuscript – one for which a later owner commissioned a new portrait of St Matthew.

Robert Curzon, 14th Baron Zouche, was a renowned 19th-century traveller and manuscript collector. He journeyed widely in Greece and in the Near East, and amassed a sizeable collection of Greek and Oriental manuscripts. On his death, over two hundred of these manuscripts were placed on loan in the British Museum, and were bequeathed to the Museum in the will of his daughter, Darea Curzon, in 1917. These now constitute Add MSS 39583-39671, along with Oriental MSS 8729-8855, the latter being cared for by our colleagues in Asian and African Collections. Curzon published a catalogue of his collection in 1849. He retained a personal copy, which he annotated in subsequent years. This was presented to the British Museum along with the other manuscripts, and is now held as Add MS 64098. In a future blog post we will go into more detail on all of Curzon’s Greek manuscripts, but today we have space to focus on one.

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Add MS 39591, ff iii verso-1r

Add MS 39591 (Gregory-Aland 548) was created in the mid-12th century, at which time, presumably, portraits of all four evangelists were added. But by the time Curzon acquired the manuscript from the Monastery of St Sabba, near Jerusalem, in 1834, the portrait of Matthew was no longer to be found. As a result, a new portrait was created, to complete the volume, and this is now f iii verso. You can see the clear difference between the quality and condition of the parchment of this leaf and that of f 1r, the beginning of the 12th-century manuscript proper.

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Burney MS 19, f 1v, St Matthew, 2nd quarter of the 12th century
Burney_ms_19_f063v
Burney MS 19, f 63v, St Mark, 2nd quarter of the 12th century

In addition, the colouring is not characteristically Byzantine, and the image of Matthew is rather closer to that of Mark than that more typically associated with Matthew, as in, for example, Burney 19, above.

Add_ms_39591_f044v
Add MS 39591, f 44v, St Mark, 12th century, overpainted in the 19th century



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Add MS 39591, f 74v, St Luke, 12th century, overpainted in the 19th century
Add_ms_39591_f124v
Add MS 39591, f 124v, St John the Evangelist, 12th century, overpainted in the 19th century

The same later artist has also touched up the other portraits in Add MS 39591. Here are Mark, Luke and John.

Add_ms_39591_f044v detail
Add MS 39591, f 44v, detail of Roman script or type transferred to the red cushion during the 19th-century overpainting

But the artist has left a tiny trace of his work in the portrait of St Mark. On Mark’s red cushion, some letters in Roman script can be seen. Presumably, a page containing these letters was put against the portrait of Mark while it was still damp, and these letters were transferred. The fact that they are in Roman script makes it more likely that this restoration work was done after the manuscript had left the Monastery of St Sabba, rather than before.

- Cillian O’Hogan

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