30 January 2013
A Menagerie of Miracles: The Illustrated Life of St Cuthbert
Miniature of a monk (Bede?) kissing the feet of St Cuthbert, from the preface to Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 1v
Last year the British Library was pleased to announce the acquisition of the 7th century St Cuthbert Gospel (Add MS 89000) following the largest public fundraising campaign in our history; read our blogposts 'Happy St Cuthbert's Day!', 'St Cuthbert Gospel Saved for the Nation' and 'St Cuthbert Gospel - Thank you!' for more. Following the acquisition, the St Cuthbert Gospel was exhibited in our Treasures Gallery alongside another manuscript equally well known to lovers of all things Cuthbertian, Yates Thompson MS 26.
This 12th century manuscript is our latest addition to the Digitised Manuscripts website. Yates Thompson MS 26 contains a number of texts about England's favourite hermit and bishop, most notably Bede's prose Life of St Cuthbert (vita beati Cuthberti). But it is probably most famous for its extensive programme of illumination, which documents almost every episode in St Cuthbert's holy life. Key events depicted include the establishment of Lindisfarne, Cuthbert's ridding the wife of King Ecgfrith's prefect from the demons that beset her, the saint's much-mourned death and subsequent healings at his tomb. These miniatures are beautifully interspersed with those of more 'mundane' miracles, like a crow bringing lard in atonement for stealing straw and Cuthbert curing a monk of diarrhoea. Some of our other favourites are below:
Miniature of St Cuthbert praying to God to change the winds beside the river Tyne; miniature of two monks at the monastery of Tynemouth praying for the safety of those blown away in a gale, from Chapter 3 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, ff. 10v-11r
Miniature of the young St Cuthbert kneeling in prayer, interrupted by his horse finding bread and cheese wrapped in linen hidden within a roof, from Chapter 5 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 14r
Miniature of (lower left) Cuthbert praying in the sea, and, after he has finished (lower right), otters coming to warm and dry his feet with their breath and fur, while (above), another monk secretly watches the miracle, from Chapter 10 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 24r
Miniature of St Cuthbert in a boat at sea, with two other men, from Chapter 11 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 26r
Miniature of an eagle bringing St Cuthbert and his companion a fish, which they then share with the eagle, from Chapter 12 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 28v
Miniature of St Cuthbert building his hermitage on the island of Farne, with the help of an angel, from Chapter 17 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 39r
Miniature of St Cuthbert miraculously discovering a roof beam for his church in the waves of the ocean, from Chapter 21 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 45v
Detail of a miniature of St Cuthbert's vision of the soul of a man, who was killed by falling from a tree, being carried to heaven, from Chapter 34 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 63v
Miniature of monks at St Cuthbert's hermitage signalling with torches to the monks of Lindisfarne that Cuthbert is dead, from Chapter 40 of Bede's prose Life of St Cuthbert, England (Durham), 4th quarter of the 12th century, Yates Thompson MS 26, f. 74v
The Life of Cuthbert is the first British Library manuscript from the Yates Thompson collection to be made available on Digitised Manuscripts, but we can promise you that it will not be the last. Much more information about the extraordinary collector Henry Yates Thompson and his eponymous collection can be found in our virtual exhibition appropriately titled Henry Yates Thompson's Illuminated Manuscripts.
Sarah J Biggs
Follow us on Twitter: @blmedieval
28 January 2013
Celebrating an Anniversary in High Style: the Biblioteca Nacional de España and the British Library
Miniature of 'The Spanish Dance'; from Códice de trajes, Germany, 1547, BNE MS Res 285, ff. 2v-3r.
2012 was a milestone year for the Biblioteca Nacional de España (BNE), the National Library of Spain: throughout the year, the library celebrated the 300th anniversary of its foundation in 1712, by King Felipe V. In this initial incarnation it was the Biblioteca Pública de Palacio, the Palace Public Library, and in 1836 was transferred from ownership by the crown to the Ministerio de la Gobernación (Ministry of Governance). Today, it is Spain's largest library, with collections stretching to 15 million printed books and tens of thousands of manuscripts.
In honour of these 300 years of history and letters, today's
featured manuscript is not from the collections of the British Library,
but from those
of the BNE, as we are excited to contribute here our own 'virtual
exhibition' to a series of joint exhibition projects that have been
taking place throughout Spain.
Works
from the BNE's collections -- including manuscripts, drawings, prints,
paintings, maps, photographs, and books -- are being displayed in
important museums and cultural
institutions across Spain. They will thus reach new publics, be seen in fresh contexts, and inspire
different viewpoints, as well as establish a
dialogue with works from the collections of more than thirty Spanish
institutions. The
intention of the BNE and of Acción Cultural Española (AC/E) is to ensure that
even those who cannot visit the Library in Madrid can still participate in an event that
marks 300 years of a shared cultural history, and the British Library is eager to take part, bringing this cultural exchange to cyberspace!
Detail of a miniature of women 'in England'; from Códice de trajes, Germany, 1547, BNE MS Res 285, f. 34v.
The focus of today's 'exhibition' is a recently acquired mid-sixteenth-century manuscript, called a códice de trajes, or 'costume book',
made in Germany
by an anonymous artist. This is an
example of a type of book that – while it may seem strange to us today, in our
culturally interconnected world – was quite popular in the sixteenth
century. It is a collection of pictures
of clothing worn by people from different countries and different walks of life,
celebrating the diversity of national costumes.
Books like these are extremely valuable to us today, allowing us to
recreate the dress of people who are far removed from us, not by space, but by
centuries of time.
Miniature of Charles V, Holy Roman Emperor and King of Spain, surrounded by seven of his principal electors; from Códice de trajes, Germany, 1547, BNE MS Res 285, ff. 35v-36r.
In addition to pictures of people, grouped together on an
empty ground as a kind of pictorial fashion-show, the manuscript also has an
interest in ceremonial, depicting some of the important events of the period,
along with the people who took part and, most importantly, the clothing they
wore. We can see here, therefore,
Charles V, Holy Roman Emperor and King of Spain, enthroned between seven of his
electors, identified by coats of arms and carrying imperial regalia. Charles V is depicted as an older man – as he
would have been at the time of the manuscript's production in 1547. His portrait, like the depictions of costumes
throughout the manuscript, is copied from other sources rather than taken from
life, but the images still provide a beautiful and detailed glimpse into the
colour and pomp of the sixteenth century.
Miniature of Englishwomen, being (left to right) the wife of a citizen of London, the wife of a wealthy citizen of London, his young daughter, and 'a country-woman as they go nowadays'; from Lucas de Heere, A Description of England, Scotland, and Ireland, England, 1573-1575, Add. MS 28330, f. 33r.
One of the advantages of electronic media is the ability to
bring together objects that, physically, may be very far apart. It is wonderful, therefore, to be able to
compare side-by-side the pictures from this BNE manuscript with illustrations
from a book in the British Library's own collection. A Description
of England, Scotland, and Ireland, produced in Germany only a few decades later,
contains beautiful coloured drawings by the painter Lucas de Heere, which
clearly partake in the same tradition of descriptive portrayal of costume. The group of Englishwomen shown above
demonstrate the differences in city and country fashions, the three
middle-class and wealthy Londoners on the left presenting a sharp contrast with
the country-dweller on the right. And
perhaps the older among them might recognize in the Englishwomen of the BNE
manuscript the fashions of their youth!
A shared interest in the appearance and costume of the monarch: detail of a miniature of Queen Elizabeth I, from Lucas de Heere, A Description of England, Scotland, and Ireland, England, 1573-1575, Add. MS 28330, f. 4r.
We have been delighted to produce this 'virtual exhibition' with the assistance of the Biblioteca Nacional de España, who have generously contributed images from their collection to appear in this post. Happy Birthday, BNE!
24 January 2013
The Worth of a Butterfly
Machaon and Podalirius butterflies, from Butterfly and Moth Paintings by Elizabeth Dennis Denyer ('Drawings of
Lepidopterous Insects'), England, 1800, Additional MS 6895, f. 8r
As the forthcoming panels at Leeds sponsored by the British Library's Medieval and Earlier Manuscripts Section will demonstrate, the reading room at the British Library is often the place where exciting discoveries are made (see here and here for our sessions at the 2013 Leeds International Medieval Congress). These discoveries encompass a broad range of topics, from new scribal attributions and previously unknown historical events, to hidden words in illuminations.
It is a pleasure to announce that lepidopterology (the study of butterflies and moths) can now be added to this list.
Iris butterflies, from Butterfly and Moth Paintings by Elizabeth Dennis Denyer ('Drawings of
Lepidopterous Insects'), England, 1800, Additional MS 6895, f. 34r
While conducting research last year on Elizabeth Denyer, an eighteenth-century restorer of medieval manuscripts and early printed books, I came across a book of butterfly paintings which she based on specimens in the collection of her Chelsea neighbour, the renowned entomologist William Jones. After contacting Dick Vane-Wright, I realised that this book has remained unknown since it was bequeathed to the British Museum by Elizabeth, and that further it has much to tell us about the early history of entomology.
Detail of a vignette of John Denyer and Martha Denyer (parents of the artist Elizabeth Denyer) in profile and in silhouette, made on a separate piece of paper and mounted on the page, from Butterfly and Moth Paintings by Elizabeth Dennis Denyer ('Drawings of Lepidopterous Insects'), England, 1800, Additional MS 6895, f. 54r
Our initial findings were recently published in Antenna: the Bulletin of the Royal Entomological Society, and we are delighted to be able to share them with the public. Click Download Antenna 36(4) 239-246 for a PDF of the article.
We are very grateful to the British Library, and our thanks to the Royal Entomological Society for permission to make our article freely available on the internet. (The text is copyright of the RES, Sonja Drimmer and R.I. Vane-Wright. Copyright of the images is noted against each image in the article.)
While lepidopterology only originated as a field of scientific enquiry in the 17th century, the beauty of butterflies was not lost on our medieval forebears. Previous posts on this blog have featured manuscript illuminations showing a monstrously large butterfly supervising (?) the plowing of a field, as well as an ape hunting a butterfly in the margins of a manuscript of the Estoire del Saint Graal.
Chaucer, however, seems to have held the multicolored insects in somewhat lower esteem. Disappointed with the depressing tales told by the Monk, the Canterbury Host exclaims, 'Youre tale anoyeth al this compaigne / Swich talkyng is nat worth a boterflye.'
We hope you find them worth a whole lot more!
Sonja Drimmer
Lecturer, Department of Art History and Archaeology, Columbia University
Follow us on Twitter: @blmedieval
16 January 2013
Monkeying Around with the Maastricht Hours
Detail of marginal grotesques of (below) monkeys blowing horns and (above) a winged man with animal legs playing a harp; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 61v.
It is a truism, although one that never ceases to surprise, that medieval art – especially manuscript illumination – celebrates the juxtaposition between the sacred and the profane. The Maastricht Hours is an early 14th-century book of hours made in Liège, and is remarkable for the large number of vibrant illuminations that cover its pages – full-page miniatures, lavishly decorated initials, and countless marginal scenes and grotesques. A full digital version of the Maastricht Hours has just been made available on the British Library's Digitised Manuscripts site, and every page has something new to discover.
Miniature of Sts Catherine (left) and Agnes (right); from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 13v.
A book of hours is a devotional text, containing copies of the various scriptural readings, psalms and prayers that were to be said at set times during the day (the 'monastic hours'). It was intended to be used during prayer and pious contemplation, and it is no surprise, therefore, that the most important images in the manuscript are all on religious themes: two series of full-page miniatures depict the Nativity story and Christ's Passion. Other important miniatures depict female saints – it is probable that the manuscript's original owner was a wealthy woman, and she may have appreciated these tributes to exemplars of female piety. And the pictures are extraordinarily lively. Catherine with her sword and wheel and Agnes with her lamb (above) may stand in stylized architectural sconces, the traditional placement for the stone statues in a church, but their posture is far from sculptural. And the male figures in the roundels seem to interact both with the female figures and with each other.
Disco fever!: detail of marginal figures dancing to bagpipe music; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 234r.
These religious miniatures are only part of the story, however. While the major divisions in the manuscript are all introduced by full-page pictures, every page is bursting with small figures in the margins. Strange hybrid creatures war with bows and arrows, dancers groove to the sound of bagpipe music, and monkeys abound. We even encounter a pair of lovers, reclining in a garden, their minds surely on anything but the pious contemplation expected of the reader. The falcon on the man's wrist advertises his aristocratic rank, and the songbird in its green tree evokes the refined garden setting traditional to courtly lyric and romance.
Detail of a miniature of lovers, conversing in a garden; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 59r.
Detail of a miniature of a woman in conversation with a monkey in the guise of a courtly nobleman; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 62r.
Only a few pages later, however, another image of lovers appears that seems to set the first one on its head. This time the woman's suitor is no nobleman, but one of the manuscript's many mischievous monkeys, and the bird of prey on his wrist is no aristocratic hawk, but an owl. Considering the frequently scatological behaviour of the manuscript's other monkeys (including, to name only one example, the pair appearing on the facing page, shown at the top of this post), the image may become a critique of its earlier companion, a moral satire on courtly love. Or, perhaps, it merely celebrates a delight in the beautiful and the bizarre.
Detail of a marginal grotesque firing an arrow at, on the facing page (not shown), a monkey playing a rebec or similar stringed instrument; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 33r.
Detail of a miniature of a monkey riding an elephant and castle; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 36r.
Detail of a miniature of a friar playing an instrument while a nun dances; from the Maastricht Hours, Netherlands (Liège), 1st quarter of the 14th century, Stowe MS 17, f. 38r.
- Nicole Eddy
14 January 2013
Alfred the Great: Not a Domestic God, but No Slouch, Either!
Alfred the Great being scolded by a woman for letting bread burn, from James William Edmund Doyle's 'Alfred', in A Chronicle of England: B.C. 55 - A.D. 1485 (London: Longman, Green, Longman, Roberts & Green, 1864), via Wikipedia Commons
Alfred the Great, king of the West Saxons from 871 to 899, was not just an early example of male incompetence in the kitchen (legend has it that while hiding in the marshes from the Viking invaders he sheltered in the hut of the local purveyor of cupcakes and found himself in big trouble for allowing her cakes to burn when he was left in charge of the oven. His excuse was that he was busy reading!). Though he was more than a match for the Viking thugs, defeating them convincingly in 878, Alfred had brains as well as brawn, and a softer side, it seems. One of his greatest achievements was a revival of culture and learning in his kingdom; during his reign he organized and was probably involved in translating key religious works into Old English so that they could be understood by his people, whose knowledge of Latin had declined during almost two hundred years of upheaval and warfare.
Zoomorphic initial (A)'E'(ft) with four heads and interlaced bodies at the beginning of Book III, Chapter I, from Orosius' Historum adversum paganos, England (Winchester?), between c. 892 and c. 925, Additional MS 47967, f. 31v
A British Library manuscript in Old English (Additional MS 47967), contains a translation of the Latin work by Orosius, Historia adversus paganos (History against the pagans). It was written at a time when the Roman Empire was threatened with destruction by pagan armies, a situation which must have seemed familiar to Alfred and the West Saxons. Orosius's aim was to show that although the situation was bad in Christian times, it had been worse before under the pagan gods, and the resulting work is a concise history of the world from Creation to 417 from the Christian viewpoint. Though not a work of great scholarship, it had become a popular source of world history and would have suited Alfred's educational purposes admirably. The Old English version has been freely adapted from the Latin, with additional contemporary material, including an account of the voyages of Ohthere and Wulfstan, an important source for the geography of northern and central Europe in the ninth century. The text states that the Norseman Ohthere delivered this account to King Alfred, his hlaford (lord), indicating a close connection to the Anglo-Saxon court. Orosius was listed by early historians among the translations undertaken by the king himself, but there is no further evidence that it is Alfred's work and the style differs from Alfred's other works, such as the translation of Gregory's Pastoral Care.
Opening folio with list of chapters, from Orosius' Historum adversum paganos, England (Winchester?), between c. 892 and c. 925, Additional MS 47967, f. 2r
The British Library manuscript is the earliest surviving copy of the Old English work, having been produced between about 892 and 925 (in other words perhaps towards the end of Alfred's reign), perhaps in his scriptorium at Winchester. It is written in a square Anglo-Saxon minuscule associated with Winchester, and was probably copied by the scribe who wrote the entries in the Parker manuscript of the Anglo-Saxon Chronicle for 892 to 933. Distinctive features are the slight horns at the tops of vertical strokes, the letter 'a', formed like a 'u' with the top closed by a slanting stroke, and the tall 'e'. Five decorated initials mark the beginnings of the first five books. They contain outline zoomorphic drawings; three are of complete creatures, while two are merely of the animals' heads with interlacing leaves and acanthus. In the miniature below, the three conjoined creatures have tongues, claws, tails and horns whose extremities morph into leafy ornament. While the foliage is adapted from Carolingian designs, the interlace is of insular origin.
Zoomorphic initial 'U'(re) with 3 heads and interlaced bodies at the beginning of Book I, Chapter I, from Orosius' Historum adversum paganos, England (Winchester?), between c. 892 and c. 925, Additional MS 47967, f. 5v
The Orosius text is written in 'early West-Saxon', the dialect found in a very small number of manuscripts associated with King Alfred's literary circle, though it contains certain linguistic features such as the smoothing of ea to e before palatal and velar consonants and a preference for –ade over –ode in forming the past tense, which may indicate Anglian dialectal influence or a later stage of the language. Nothing further is known of the origins or history of the manuscript before the seventeenth century, when it was catalogued in the library of the duke of Lauderdale. It was bought by the British Museum in 1953 and is now in the British Library. Along with the other Old English manuscripts in the Additional collection, it has recently been added to our online Catalogue of Illuminated Manuscripts (see here for the entry).
- Chantry Westwell01 January 2013
A Calendar Page for January 2013
In an ongoing series on this blog, we have taken a closer look at images from medieval calendars, including the Isabella Breviary (please see this post for more details on calendars in medieval manuscripts) and the Hours of Joanna of Castile (Joanna the Mad). This year, the featured calendar comes from the 'Golf Book', a mid-sixteenth-century Book of Hours (Additional MS 24098; soon to be featured on Digitised Manuscripts). In addition to the usual 'labours of the month', the calendar also includes many images of games and sports, and the name 'Golf Book' in fact comes from an early depiction of a game of golf in one of the many bas-de-page miniatures. Something to look forward to in the months ahead!
Miniature of Boniface of Lausanne, from the Golf Book (Book of Hours, Use of Rome), workshop of Simon Bening, Netherlands (Bruges), c. 1540, Additional MS 24098, f. 1r
The Golf Book is not, in its present state, a complete manuscript. While it was originally produced as a full Book of Hours – a devotional book containing prayers to be recited at set times – most of the text is now missing. Only thirty leaves remain from what once would have been hundreds, taken from the most elaborately illuminated parts of the manuscript: the first pages of each of one of the cycles of hours (the Hours of the Virgin), and the calendar. The full-page miniatures were produced by an important miniature-painter working in sixteenth-century Bruges, Simon Bening (d. 1561), with the assistance of his workshop, and the Golf Book is considered one of his masterpieces. Nothing is known about the patron of this enigmatic manuscript; illuminators in Bruges worked for buyers all over Europe. But it is possible that the original owner was Swiss. One of the surviving pages is a miniature of Boniface of Lausanne, a 13th-century bishop (see above). He was not canonized until after the medieval period, and his cult in the sixteenth century was primarily a regional one.
Calendar page for January, from the Golf Book (Book of Hours, Use of Rome), workshop of Simon Bening, Netherlands (Bruges), c. 1540, Additional MS 24098, f. 18v
The calendar pages in the Golf Book are spread across two pages, with the first page for each month somewhat unusually reserved for a full-page miniature. In the foreground of the opening January scene (above) is a man splitting wood for a fire, assisted by a woman close by. Behind them a man and his wife, who is nursing an infant, can be seen in their home, warming themselves by the fire. In the snowy background is a church, with bundled-up parishioners exiting. The bas-de-page scene shows a group of men pulling (with great effort it seems) another man on a sledge.
Calendar page for January, from the Golf Book (Book of Hours, Use of Rome), workshop of Simon Bening, Netherlands (Bruges), c. 1540, Additional MS 24098, f. 19r
This same scene is mirrored on the following folio, which also contains a short listing of saints days for January and a small roundel of a man pouring water from two jugs, for the zodiac sign for Aquarius.
17 December 2012
New Testament from Oldest Complete Bible Available Online
Detail of the colophon at the end of Matthew: it reads 'Εὐαγγέλιον κατὰ Ματθαῖον', literally 'Gospel according to Matthew'; from Codex Alexandrinus, vol. 4, 5th century, Eastern Mediterranean, Royal MS 1 D. viii, f. 5v.
The New Testament volume from one of the British Library’s most valuable treasures, Codex Alexandrinus, has been made available online for the first time on the Library’s website. Codex Alexandrinus, which translates simply as ‘the book from Alexandria’, dates from the 5th century and is the most complete Bible preserved from early Christian times. The New Testament volume of this unique book has been digitised in full as part of a larger British Library project to transform access to some of its oldest and most valuable handwritten books.
The Codex is one of the three earliest known surviving Greek Bibles: the others are Codex Sinaiticus and Codex Vaticanus. Between them, these three manuscripts are the most important witnesses for the full text of the Greek New Testament. Codex Alexandrinus is particularly important, since it is the oldest example of what is known as the Byzantine text of the New Testament, the wording of which became the dominant form in Greek Christianity from the 7th century down to today. As well as the 27 books of the New Testament, it also includes two other texts important to early Christians, a letter of Clement, Bishop of Rome, written at the end of the 1st century, and a second slightly later homily attributed to Clement. Its use of stylized decoration means it is also of great importance for the history of early Christian art.
Page containing Luke 22:42-23:3, but without verses 22:43-44; from Codex Alexandrinus, vol. 4, 5th century, Eastern Mediterranean, Royal MS 1 D. viii, f. 39v.
The Codex is named after the capital of Greek Egypt, Alexandria, to which it was brought at the beginning of the 14th century. It was presented to King Charles I in 1627, and its arrival in Britain was a revelation to biblical scholars, not least for its important divergences from the text of the recently published King James Version of 1611. For example, Codex Alexandrinus omits the so-called ‘Holy Sweat’ passage (Luke 22:43-44): ‘And there appeared an angel unto him [Jesus] from heaven, strengthening him. And being in an agony he prayed more earnestly: and his sweat was as it were great drops of blood falling down to the ground’ (King James Version). The book passed into national ownership with the donation of the Old Royal Library by George II in 1757.
The digitisation of Codex Alexandrinus complements the full digital coverage of Codex Sinaiticus made available in 2009 by the British Library as a result of an international collaborative project. Codex Alexandrinus joins over 800 other medieval manuscripts now available in full online on the Library’s website where they can be studied in great detail by anyone, anywhere in the world.
Page containing Luke 24:32-53 and the colophon at the end of Luke; from Codex Alexandrinus, vol. 4, 5th century, Eastern Mediterranean, Royal MS 1 D. viii, f. 41v.
14 December 2012
Camelot: The Prequel
Detail of a miniature of the hero, Meliadus, bearing the arms of Naples, with the arms of Jerusalem close by, from Meliadus or Guiron le Courtois, Italy (Naples?), 1352-1362, Additional MS 12228, f. 68r
The legends of King Arthur and his court at Camelot, the quest for the Holy Grail and the related tale of Tristan and Isolde were probably as popular as Star Wars in most of Western Europe in the Middle Ages, and maybe that is why they also needed a 'prequel'! In the mid-13th century the core Arthurian stories were written down as a vast prose epic in French, known as the Lancelot-Grail Cycle, which was widely circulated for the entertainment of royalty and aristocrats. At about the same time an author who called himself Hélie de Boron, produced a companion work or prequel to the tales of Arthur, Lancelot and the knights of the Round Table. It fills in some of the gaps in the story but is mainly concerned with the deeds of the fathers of the well-known heroes: Uther Pendragon, father of Arthur, Meliadus, father of Tristan, Lac, father of Erec and the Bon Chevalier sans Peur, father of Dinadan. The most important characters are Meliadus, father of Tristan and his companion Guiron, who are involved in a series of seemingly random adventures in which the other characters appear from time to time. In the earliest copies, the work is called Palamedes, after the Saracen knight who was Tristan's challenger, but later versions are named Guiron le Courtois (or Meliadus if they contain only the first part).
Miniatures from Meliadus or Guiron le Courtois, Italy (Naples?), 1352-1362, Additional MS 12228, ff. 170v-171r
The British Library has a beautifully illustrated Italian manuscript, Additional MS 12228, which contains the prologue and most of the first part, Meliadus, ending abruptly in the middle of a sentence. Many the pages are written only in the upper half, while the lower half is filled with colourful scenes of knights, castles and tournaments. It was probably made for Louis de Tarente, King of Naples (r. 1352, d. 1362), as his arms are in the background of several miniatures. The first large miniature has a king enthroned with a knot above him, representing the 'Nodo' - the Italian order of knighthood founded by Louis.
Miniature of a king enthroned below the 'Nodo', from Meliadus or Guiron le Courtois, Italy (Naples?), 1352-1362, Additional MS 12228, f. 4r
On some pages there are only outline sketches (see below) and it appears that various artists at different times have worked on adding colours and completing them, while on some pages the space has not been filled at all. In parts the colours are worn and so is the text, though in modern times someone has written over parts which had been rubbed away.
Folio with unfinished miniature in outline, from Meliadus or Guiron le Courtois, Italy (Naples?), 1352-1362, Additional MS 12228, f. 151v
In the prologue the author claims to be Hélie de Boron, companion at arms of Robert, who wrote the Grail legend, and says that his work is written for King Henry who he has already given him two castles. At the king's request he chooses the title Palamedes, after the most courteous knight at Arthur's court and concludes that courtesy is the main subject of his tale. The story itself begins with the Romans, at the time of Arthur's coronation, when Esclabor, father of Palamedes, is captive of the Emperor, and is sent to Britain. Many tales follow, including Meliodus' abduction of the Queen of Scotland and his subsequent captivity. The text is interrupted suddenly near the end of the first part, with the Chevalier sans Peur and Meliadus debating whether to support King Arthur in his battle against his enemy Claudas.
Detail of a miniature of two kings playing a board game, from Meliadus or Guiron le Courtois, Italy (Naples?), 1352-1362, Additional MS 12228, f. 23r.
Among the treasures hidden in the pages of this beautiful book are two pictures of medieval games. Near the beginning, on f. 23 (above), two kings are depicted playing a board game and towards the end is one of the earliest pictures of a group of people playing cards – it shows King Meliadus and his followers amusing themselves while in captivity.
Detail of a miniature of King Meliadus and his followers amusing themselves whilst in captivity, from Meliadus or Guiron le Courtois, Italy (Naples?), 1352-1362, Additional MS 12228, f. 313v
As the images are damaged in places, particularly at the edges, and the gorgeous colours are wearing off, it is important that this manuscript is handled as little as possible, and so it has now been carefully photographed by specialists at the British Library and is fully available online on the British Library Digitised Manuscripts web pages as Additional MS 12228. So while the original is being carefully preserved, anyone is able to view the stunning images up close and read the words written in a distant time and place. Does that make Star Wars technology seem out of date? Let our readers decide!
Medieval manuscripts blog recent posts
- Our first 1000 digitised manuscripts return
- Chaucer’s works go online
- Births, births and (more) births
- An illustrated Old English Herbal
- A Calendar Page for December 2016
- A Calendar Page for November 2016
- A Calendar Page for October 2016
- A Calendar Page for September 2016
- A Calendar Page for August 2016
- Manuscript the Tube
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