04 April 2021
Easter Sunday in the Sherborne Missal
One of the most glorious celebrations of the feast of Easter in a medieval manuscript is surely the page for Easter Sunday in the Sherborne Missal. In November 2020 we took a detailed look at this page and its beautiful artwork for the BBC Radio 4 Moving Pictures programme, which you can still listen to on the BBC website. If you didn’t get chance to listen to the programme at the time, or even if you did, we think it would make perfect seasonal listening for this Easter weekend.
Moving Pictures is a radio series that offers listeners the chance to take a long, slow look at great artworks, photographed in incredible detail. You're invited to view a high-resolution image on Google Arts & Culture while presenter Cathy FitzGerald and a group of experts talk you through the details. The speakers on the Sherborne Missal episode are Kathleen Doyle (the British Library), Eleanor Jackson (the British Library), Alixe Bovey (the Courtauld Institute of Art), Paul Binski (the University of Cambridge) and Patricia Lovett (professional scribe and illuminator).
Made in the early 15th century for the Benedictine abbey of St Mary in Sherborne, Dorset, the Sherborne Missal is a particularly impressive example of a book containing the texts that were read as part of the Mass on the different feast days throughout the year. The page for Easter Sunday is lavished with intricate decoration exploring the significance of Christ’s Resurrection, as well as portraits of the main people involved in the making of the manuscript, whimsical fight scenes and beautifully observed representations of the natural world.
Discover the hidden meanings behind the artwork and celebrate the joys of medieval Easter by listening online while viewing the high-resolution image. You can also find out more about the Sherborne Missal in our previous blogpost.
Follow us on Twitter @BLMedieval
22 March 2021
The colour purple
Purple is a colour replete with imperial and spiritual associations. Certain Roman emperors famously reserved the use of purple clothing for themselves. It was also expensive: Diocletian’s Edict of Maximum Prices issued in the year 301 set the limit on a pound of purple wool at 50,000 denarii, the same value as a pound of gold. Books, too, written on purple were high-status objects. According to one account, Constantine the Great (r. 306-337) received a gift of poetry written in gold and silver on purple leaves (ostro tota nitens, argento auroque coruscis scripta notis) (P. Optatianus Porfyrius, Carmina I: 1-4.).
One of the earliest surviving manuscripts written in gold and silver on purple-stained parchment is in fact named for this colour: the Codex Purpureus Petropolitanus, a Greek manuscript of the Gospels written in the 6th century. In the Middle Ages, it seems probable that scribes and artists were inspired by these Late Antique manuscripts to incorporate purple into the design of prestigious books.
From an early date, the use of purple in Christian biblical texts, often in combination with gold or silver writing, came to symbolise their sacred nature. For example, Godescalc, the scribe of a Gospel Lectionary made for the Emperor Charlemagne in 780, explained that ‘golden words’ on purple pages ‘disclose the joys of heaven’ (the manuscript is now BnF, MS nouv. acq. latin 1203).
One of the places where purple features in illuminated manuscripts is in full-page title or ‘incipit’ pages (from the Latin word incipit, meaning ‘it begins’), often paired with text written in gold or silver. An impressive example is found in a 9th-century manuscript made in the important centre of Tours. It is framed by decorated rectangular panels and interlaced golden corner pieces, which introduce the Gospel of St Matthew: ‘Incipit Evangel[ium] Sec[un]d[u]m Mattheu[m]’ (The beginning of the Gospel according to Matthew), written on painted purples panels.
Sometimes an entire page is coloured purple, as in this early Bible from Canterbury, which although incomplete, retains four purple leaves. Three feature text written in alternating lines of gold and silver capital letters, while the fourth includes an Evangelist portrait of St Luke. The columns, formed of complex decorative interlace patterns in circles and rectangles redolent of metalwork provide a setting for the beginning of St Luke’s text: Quoniam quidem (forasmuch), written in gold and silver letters.
Title page from the Royal Bible, Canterbury, 1st quarter of the 9th century: Royal MS 1 E vi, f. 30r
It seems likely that the purple was achieved through painting or staining the parchment, rather than by dipping the entire page in dye, particularly considering the many examples of purple background on only part of the page. Recent analysis of a manuscript now in Cambridge revealed that its purple background was achieved by painting a purple made from a plant, probably orchil (Cambridge, Fitzwilliam Museum, MS McClean 30, discussed in Colour: The Art and Science of Illuminated Manuscripts, ed. by Stella Panayotova (London, 2016), no. 3. You can find out more about how medieval manuscripts were made in our video article.
The use of this colour was particularly popular in the early Middle Ages, when scribes and artists demonstrated the preciousness of the Gospel message through extraordinary decoration in gold, silver and special purple stained or painted leaves.
Kathleen Doyle
Follow us on Twitter @BLMedieval
Part of the Polonsky Digitisation Project
23 February 2021
Illuminated Canon Tables
Canon tables are ubiquitous and fundamental to Christian copies of Scripture over many centuries, in both Greek and Latin. Devised by the early Church Father Eusebius (d. c. 340), bishop of Caesarea in Palestine, the tables present a unifying gateway to the Gospels, the four biblical accounts of the life of Christ written by the Evangelists, Sts Matthew, Mark, Luke and John. The tables contain numbered lists of passages that are either shared in two or more Gospel accounts, or are unique to a particular Gospel. As Eusebius explains in a letter to his friend Carpianus, he compiled the ten tables (or canons, in Greek) to help the reader ‘know where each of the Evangelists was led by the love of truth to speak about the same things’.
In deluxe copies of the Gospels, the canon tables offered an opportunity for artists to explore a different type of decoration from pictorial illustration and narrative initials. Typically the tables are presented in micro-architectural frames, sometimes complete with faux marble or porphyry columns under elaborate arched pediments.
Perhaps the most well-known canon table in the British Library is also the earliest: a sophisticated 6th- or 7th-century example in Greek made in Constantinople (modern-day Istanbul). These canons are now fragmentary, comprising only two leaves that were added to a 12th-century manuscript of the Gospels in Greek. The fragments give a glimpse of what must have been a truly splendid book, as they are written on gold, and embellished with bust portraits above the arches.
In an elegant 9th-century Latin example the decoration is enhanced by the presence of an archer who prepares to shoot an arrow across the pediment at another man, who is preparing to launch his spear.
In a later, 12th-century Latin version of the tables from the Benedictine abbey of St Pierre in Préaux in Normandy, the columns feature lush foliage topped by elaborated capitals, with twisted winged creatures embedded in the design. The first canon is set out as seven groups of five passages identified by Roman numerals (the Ammonian section references), divided by horizontal lines and presented in four columns. Each column is headed by the name of the relevant Evangelist (Math[eu]s), Marcus, Lucas and Joh[ann]es). At top, the Abbey’s patron saint St Peter sits above the central column, identified by the key held in his right hand. This attribute was derived from Christ’s statement that ‘That thou art Peter; and upon this rock I will build my church . . . And I will give to thee the keys of the kingdom of heaven’ (Matthew 16:18-19).
The other nine canons all include a central nimbed figure holding a gold book, presumably representing an Evangelist and the Gospels themselves, which are to come following the elegant correlation of their contents.
To find out more, you can also explore our articles on Manuscripts of the Christian Bible, Illuminated Byzantine Gospel-books, and Biblical Illumination, as well as our earlier blogpost on the Golden Canon Tables.
Kathleen Doyle
Follow us on Twitter @BLMedieval
Part of the Polonsky Digitisation Project
Insert Polonsky language and logo
14 February 2021
Charles d'Orléans, earliest known Valentine?
Around this time of year, the British Library’s reference team are often asked about the earliest known Valentine, supposedly a poem in our collection which was sent by the 15th-century prince Charles d'Orléans to his wife while he was imprisoned in the Tower of London. If you search online for ‘earliest known Valentine’ you will see this claim appearing on various websites. As you might be able to guess, the story doesn’t fully check out. But it’s certainly true that Charles was partial to poetic musings on the theme of Valentine’s Day, so this year, we thought we’d set the record straight by exploring the truth of Charles’ Valentine’s Day poetry.
Who was Charles d'Orléans?
Born in 1394, Charles d'Orléans was a member of the French royal family, the grandson of King Charles V of France (r. 1364–1380) and nephew of King Charles VI (r. 1380-1422). He became Duke of Orléans at the age of fourteen after the assassination of his father. On 25 October 1415, Charles fought at the Battle of Agincourt when France was catastrophically defeated by England. The twenty-one-year-old was captured on the battlefield and brought back to England where he remained as a political prisoner for the next twenty-five years. He was finally released in 1440 and spent the last years of his life in France, dying in 1465.
Despite the political turmoil that surrounded his life, Charles is best remembered as a gifted writer of romantic, witty and sometimes wistful poetry. He wrote over 500 poems in the course of his life, with a particularly prolific period during his years of captivity. Charles wrote in both Middle French and Middle English, the latter of which he learned to speak fluently while in England. The British Library holds several important manuscripts of Charles’ work: a unique collection of his English poetry thought to have been made under his personal supervision (Harley MS 682), an exceptionally lavish illuminated copy of 166 of his French poems owned by King Henry VII of England (Royal MS 16 F II), a 15th-century copy of Charles' personal poetry manuscript (Harley MS 6916), as well as an early 16th-century copy of some of his French poems (Lansdowne MS 380).
Earliest known Valentine?
The poem that is sometimes referred to as the earliest known Valentine begins ‘Je suis desja d'amour tanné / Ma tresdoulce Valentinee’ (I’m already wearied by love, my very sweet Valentine). Yet the romantic story attached to the poem doesn’t stand up to fact-checking. Charles did not compose this poem while he was imprisoned in the Tower of London, but in around 1443-60 after he had returned to France. It is not included in Harley MS 682 or Royal MS 16 F II, both manuscripts which consist mainly of poems composed during Charles’ time in England. The only British Library manuscript which includes the poem is Harley MS 6916, a copy of Charles' personal poetry manuscript which he began in England then brought back to France and to which he continued adding until the end of his life (now Bibliothèque nationale de France, MS Français 25458).
Despite being addressed to ‘my very sweet Valentine’, the poem is not a personal message of affection like today’s Valentine’s cards. It actually refers to the courtly practice of holding a lottery on St Valentine’s Day in which everyone was assigned a partner, generally not their husband or wife, who was supposed to be their ‘Valentine’ for the year. This was a rather artificial enactment of the concept of courtly love, in which knights were supposed to devote themselves to the service of a married lady. In the poem, Charles excuses himself from the custom, apologetically telling his allotted Valentine that he’s too old and tired.
By Charles’ time, Valentine’s Day poetry was already a well-established genre with examples by Geoffrey Chaucer, Oton de Grandson, John Gower, Christine de Pizan and John Lydgate, among others. It was the fact that such poems were already well-known that meant Charles could play with the audience’s expectations by writing what is essentially an anti-Valentine.
Charles’s Valentine’s Day poetry
Although he can’t qualify as having written the first Valentine, Charles d'Orléans was still an important figure in the development of Valentine’s Day. About fourteen of his poems explore the subject of Valentine’s Day, a surprisingly high number, many of which can be found in British Library manuscripts.
One poem, beginning ‘Dieu Cupido, et Venus la Deese’ (The god Cupid and goddess Venus), was written when Charles was still a young man in France. It takes the form of a mock contract placing Charles in the service of Cupid and Venus. The poem ends by stating that the contract is granted on St Valentine’s Day:
Donné le jour saint Valentin martir,
En la cité de gracieux desir,
Où avons fait nostre conseil tenir
Par Cupido et Venus souverains,
A ce presens plusieurs plaisirs mondains.(Granted the day of Saint Valentine, martyr,
In the city of Gracious Desire,
Where we had our council convened.
On behalf of sovereign Cupid and Venus,
Several worldly pleasures to this man present).
(Poetry of Charles D’Orléans and His Circle, ed. Fox and Arn, trans. Barton Palmer, pp. 22-23).
The poem demonstrates the close association of St Valentine’s Day with love and desire. Its optimistic and playful tone makes a striking contrast with Charles’ later more sombre poetry on the theme of Valentine’s Day.
In a later poem set on St Valentine’s Day, written during his captivity in England, Charles sadly reflects on the death of his partner, perhaps his wife Bonne d’Armagnac (d. 1430/35). Beginning ‘Le beau souleil, le jour saint Valentin’ (On St Valentine's day, the beautiful sun), Charles tells how he wakes up and hears the birds singing and choosing their mates. The idea that birds pick their partners on Valentine’s Day had been a major theme in Valentine’s poetry since Chaucer's Parlement of Foules. This prompts the bereaved Charles to lament:
Saint Valentin choisissent ceste annee
Ceulx et celles de l'amoureux party.
Seul me tendray, de confort desgarny,
Sur le dur lit d'ennuieuse pensee.(Let men and women of Love's party
Choose their St. Valentine this year!
I remain alone, comfort stolen from me
On the hard bed of painful thought).(Poetry of Charles D’Orléans and His Circle, ed. Fox and Arn, trans. Barton Palmer, pp. 134-35).
Both of these poems were also adapted into Middle English versions which can be found in Harley MS 682 (ff. 1r-v, 47v-48r). For example, the above passage about Charles' grief on Valentine's Day appears in English as:
Als wele is him this day that hath him kaught
A valentyne that louyth him, a y gesse,
Where as this comfort sole y here me dresse
Upon my bed so hard of noyous thought.(As he is well this day that has caught
A Valentine that loves him, as I guess,
Whereas this comfort addresses me here alone
Upon my bed so hard of painful thought).
So while the claims that Charles wrote the first Valentine aren’t true, he was certainly a prolific writer of Valentine’s Day poetry, drawing on earlier poetic traditions and developing them in new ways. His poems on feeling alienated or cynical about the amorous pursuits of St Valentine’s Day provide a novel and, for many, highly relatable perspective on the genre of Valentine’s poetry. Charles’ poetry was very popular in the 15th and 16th centuries, making it likely that he helped to further popularise the romantic associations of St Valentine’s Day. This makes him a particularly important Valentine’s poet.
If, however, you do want to find out about the earliest surviving Valentine’s love letter, take a look at our previous blogpost on the letter written by Margery Brews to her future husband John Paston in 1477.
Eleanor Jackson
Follow us on Twitter @BLMedieval
Further reading
Editions and translations of Charles’ French poetry from: Poetry of Charles D’Orléans and His Circle: A Critical Edition of BnF MS. Fr. 25458, Charles D’Orléan’s Personal Manuscript, ed. by John Fox and Mary-Jo Arn, trans. by R. Barton Palmer (Turnhout: Brepols, 2010).
For Charles’ English poetry, see: Fortunes Stabilnes: Charles of Orleans's English Book of Love: A Critical Edition, ed. Mary-Jo Arn (Binghampton, New York: Medieval & Renaissance Texts & Studies, 1994).
04 February 2021
Loan of the Lindisfarne Gospels to the North East of England
The British Library and Tyne and Wear Archives and Museums are delighted to announce the loan of the Lindisfarne Gospels to the Laing Art Gallery in Newcastle for an exhibition scheduled to open in 2022. This exhibition will explore the contemporary resonance of this spectacular and justly celebrated manuscript in a range of personal, regional and national contexts, focusing on themes such as identity, creativity, learning and a sense of place.
At the same time next year, Newcastle City Library will stage a complementary exhibition. This will be accompanied by a range of public, community and school events across the North East, and a newly commissioned artwork to reimagine the Gospels for the 21st century.
The carpet page at the beginning of the Gospel of John in the Lindisfarne Gospels: Cotton MS Nero D IV, f. 210v
The exhibition in Newcastle will see the fifth loan of the Gospels to the North East. The manuscript was loaned to Durham Cathedral in 1987, the 1300th anniversary of the death of St Cuthbert. This was followed by two loans to the Laing Art Gallery in 1996 and 2000, and the most recent loan in 2013 to the ‘Lindisfarne Gospels Durham’ exhibition at Durham University, which generated great excitement in the region and attracted nearly 100,000 visitors.
The Lindisfarne Gospels on display at Palace Green Library, Durham University, in 2013
The Lindisfarne Gospels has also featured in two recent temporary exhibitions at the British Library that focused on different aspects of the manuscript. In 2018–19, the ‘Anglo-Saxon Kingdoms’ exhibition included a spectacular display of illuminated manuscripts from the Golden Age of Northumbria.
The Lindisfarne Gospels being installed in the ‘Anglo-Saxon Kingdoms’ exhibition
The Lindisfarne Gospels was displayed with the Book of Durrow on loan from Trinity College Dublin, the Echternach Gospels on loan from the Bibliothèque nationale de France, the Durham Gospels on loan from Durham Cathedral, the St Cuthbert Gospel, and Codex Amiatinus, returning to Britain from Italy for the first time in 1300 years. In contrast, in the 2019 exhibition, ‘Writing: Making Your Mark’, the beautiful Insular Half-Uncial script of the Gospels was the focus. It was displayed with other manuscripts dating from the 6th to the 15th centuries to illustrate the many different scripts used during the Middle Ages for the Roman alphabet.
The Lindisfarne Gospels displayed in the ‘Writing: Making Your Mark’ exhibition, showing the Insular Half-Uncial script: Cotton MS Nero D IV, f. 208r
Although the British Library's physical sites are currently closed to the public, when we are able to reopen our exhibitions the Lindisfarne Gospels will be on display again in the Sir John Ritblat Treasures Gallery alongside other highlights from the national collection. So we look forward both to sharing the Gospels in the Treasures Gallery later this year, and to the loan of Gospels to Newcastle next year. In the meantime, you can find out more about the Lindisfarne Gospels on our website and explore all the pages of the manuscript in detail on Digitised Manuscripts.
The Chi-rho page in the Lindisfarne Gospels: Cotton MS Nero D IV, f. 29r
Claire Breay
Follow us on Twitter @BLMedieval
29 January 2021
Bede, The Dig and Sutton Hoo
This weekend has seen the release on Netflix of The Dig, a fictionalised account of the excavation at Sutton Hoo of an Anglo-Saxon ship-burial. Starring Ralph Fiennes as Basil Brown, a self-taught archaeologist, and Carey Mulligan as a very youthful Edith Pretty, the landowner, The Dig is based on real events. The Sutton Hoo finds are among the most extraordinary from early medieval England — we displayed this gold belt buckle and part of the sword-belt in the British Library's recent Anglo-Saxon Kingdoms exhibition — but the identity of the person buried with the ship remains unresolved. In this blogpost we review some of the oldest written evidence connected to Sutton Hoo, as recorded in Bede's Ecclesiastical History.
A photograph of Basil Brown in the ship-burial, from the website of the Sutton Hoo Ship's Company
The mound containing the ship-burial at Sutton Hoo, on the banks of the River Debden in Suffolk, was opened in the summer of 1939, on the eve of World War II. At first, Basil Brown was digging with the assistance of Mrs Pretty's gardener, her gamekeeper and an estate worker, until archaeologists from Cambridge University and the Ordnance Survey intervened. Together they uncovered not only the outline of an early medieval ship, revealed by the rivets left in the sandy soil, but a number of grave goods including precious jewellery, silver bowls from the Mediterranean, and the remains of the famous Sutton Hoo helmet.
After the war the finds were examined by a young researcher, Rupert Bruce-Mitford, who spent the rest of his career analysing the site. Although much of the context for the discoveries had already disappeared by the late 1940s (Sutton Hoo had been commandeered by the British military during wartime), Bruce-Mitford recognised that the combination of 'pagan' and 'Christian' artefacts most likely dated the burial to the period of the conversion of the kingdom of the East Angles to Christianity, in the 7th century.
The Sutton Hoo helmet, courtesy of the British Museum
Over the years a number of candidates have been put forward as the person buried in the ship-mound. They include Rædwald, king of the East Angles from around 600 to perhaps the 620s, and his sons and successors Earpwald and Sigeberht. Some historians and archaeologists have been less circumspect than others in naming Rædwald, the most famous of the three, as the king commemorated at Sutton Hoo. This is based, in turn, on the account of the East Anglian kingdom provided by Bede approximately 100 years after the burial.
Bede (died 735), a monk at Wearmouth in Northumbria, completed his Ecclesiastical History, or Historia ecclesiastica gentis Anglorum, in 731. Much of its focus is on the conversion period, from the mission of Augustine from Rome to Canterbury in 597 to the time when the other Anglo-Saxon kingdoms first adopted Christian customs.
The British Library holds two of the oldest surviving manuscripts of Bede's History, both of which can be viewed in full on our Digitised Manuscripts site. One of them (Cotton MS Tiberius A XIV) was probably made in Northumbria in the late 700s or the early decades of the 800s. The other (Cotton MS Tiberius C II) is characterised by the decorated initials which mark the beginning of each book, and it was most likely made in Kent sometime in the middle of the 9th century. (Another important early copy of the Historia ecclesiastica, known as the Moore Bede, was also displayed in our Anglo-Saxon Kingdoms exhibition.) The two manuscripts which formerly belonged to Sir Robert Cotton (died 1631) were damaged by a fire at Ashburnham House, London, in 1731. You will notice that their parchment pages were blackened and warped by the heat of the flames, with the occasional loss of parts of their text.
The opening page of the first book of Bede's Ecclesiastical History, in Cotton MS Tiberius C II, f. 5v
According to Bede (Historia ecclesiastica, II.5), Rædwald was for a while the most powerful king to rule South of the Humber. He was described as the fourth such king to hold 'imperium' over the southern Anglo-Saxon kingdoms, a phrase later translated into Old English as 'bretwalda' ('Britain-ruler'). Rædwald's candidacy as occupant of the Sutton Hoo ship-burial is based furthermore on his being the first king of the East Angles to be baptised as a Christian (Historia ecclesiastica, II.15). But Bede did not hold him in the greatest esteem. Rædwald was said to have been perverted by his wife and other evil counsellors into maintaining a temple with one altar for the Christian sacrifice and another for pagan worship. This would align with the combination of Christian and non-Christian grave-goods discovered at Sutton Hoo. In Bede's words, 'rex Reduald natu nobilis quamlibet actu ignobilis' ('King Rædwald was of noble birth but ignoble in his deeds').
The chapter of Bede's Ecclesiastical History in which he records that Rædwald was a lapsed Christian, of noble birth but ignoble in his deeds (lines 1-2 of the 2nd column): Cotton MS Tiberius C II, f. 54v
But Rædwald isn't the only candidate for the ship-burial. He was succeeded as king by his pagan son, Earpwald, who later converted to Christianity under the influence of King Edwin of Northumbria. Bede reports that Earpwald was assassinated by a pagan not long after his conversion, thereby becoming the first Anglo-Saxon king to be martyred on account of his Christian faith (Historia ecclesiastica, II.15). Sigeberht, another son (or step-son) of Rædwald, ruled East Anglia in the aftermath of Earpwald's death. He was a devout Christian, who had been converted in Gaul while fleeing from the enmity of Rædwald (Historia ecclesiastica, III.18). Sigeberht eventually abdicated and retired to a monastery, until an army led by the pagan King Penda of Mercia invaded around the 640s. Sigeberht was dragged to the battlefield in order to inspire the East Angles, but he refused to carry anything but a staff and was killed. The whole East Anglian army was either slain with him or scattered.
A still from The Dig (Netflix)
The complicated dynastic history of the East Anglians, combined with the lack of firm dates for the reigns of these kings, makes it well-nigh impossible to conclude with any certainty who was buried at Sutton Hoo. As we have seen, Rædwald, Earpwald and Sigeberht alike all adopted the Christian faith, but Rædwald effectively renounced it while Earpwald was murdered soon after he had converted. Assigning the ship-burial to any of these men depends in large part on our subjective opinion of what constitutes a 'pagan' or 'Christian' grave-good at this period. But this does not detract from our romantic notions of the burial site, as exemplified by The Dig itself.
The book which accompanied the Anglo-Saxon Kingdoms exhibition is available to purchase from the British Library online shop. You can also read more about the background to Sutton Hoo and the conversion period on our dedicated Anglo-Saxons webspace, including this article by Alison Hudson on the early Anglo-Saxon kingdoms. We would also heartily recommend the blogpost Inside 'The Dig' by the British Museum's curator, Sue Brunning, which analyses the historical accuracy of the new film.
Follow us on Twitter @BLMedieval
19 January 2021
Merovingian illumination in a manuscript of Gregory's Moralia
The British Library holds one of the earliest surviving copies of Pope Gregory the Great’s (d. 604) Moralia in Job, a highly influential commentary on the Old Testament book of Job. It was made only about a century after St Gregory’s death, possibly in Laon during a period of Merovingian rule. The Merovingians were a dynasty that ruled over the Franks in the territory similar to Roman Gaul from the time of Merovech (or Merovich), by tradition the father of Childeric I (d. 481) and grandfather of Clovis I (d. 511).
The decoration of Merovingian manuscripts is distinctive. It features a limited palette of brown, green and yellow, and the use of zoomorphic initials (as the name suggests, where animals form all or part of the letter). Some letters, such as ‘I’ are formed of just one animal, like the fish of ‘I’(nter) (among) at the beginning of the first book, while other letters are more composite. The beginning of the third book of the commentary is a letter ‘B’ for Beatus Iob (blessed Job), made up of a fish and two birds.
Another characteristic feature of these manuscripts is the display script – enlarged coloured letters typically used to delineate important divisions, such as the beginning of new sections of text. The first book of the text begins with a heading ‘In expositione Beati Iob’ (An Exposition of the Blessed Job). Similarly, the beginning of the third book (incipit liber [tertius]) is announced in capital letters of alternating colours.
Something of the way in which these manuscripts were made is revealed by the letter and display script at the beginning of the fourth book: ‘Q’(ui) (who), formed of two facing birds and a fish, and ‘Incipit liber quartus’ (beginning of the fourth book). Both are carefully drawn in ink but left without any added colours. This suggests that the writing and drawing were done first and the colours were added later, but in this case not completed.
You can read more about Gregory the Great in our article on the works of the Church Fathers, and find out more about Merovingian art in our article on French manuscript illumination, both on the Polonsky Foundation England and France Project website.
Kathleen Doyle
Follow us on Twitter @BLMedieval
13 January 2021
Over 4,500 manuscripts now online
Long-term readers of our blog may know that we periodically publish lists of our digitised manuscripts, the last of which was published in July 2020. With the arrival of the New Year and the beginning of a new lockdown in the UK, we are releasing an update to our lists of manuscript hyperlinks. We hope this makes it easier for readers and researchers to explore our amazing digitised treasures online.
There are now over 4,500 Ancient, Medieval and Early Modern manuscripts on the British Library's Digitised Manuscripts website. Here is a full list of all the items currently available, as of January 2021:
PDF: Full-list-digitised-mss-jan-2021
Excel: Full-list-digitised-mss-jan-2021 (this format cannot be downloaded on all web browsers).
During this period of terrible uncertainty, the Library's Ancient, Medieval and Early Modern team has been busy as ever, working to make more manuscripts available for our readers online. Over the last 6 months alone, we have published over 850 items, from medieval and early modern codices and rolls to Greek papyri and ostraca. All the images featured in this blogpost are from collection items that we have digitised since June 2020. Here is a list of our most recent additions:
PDF: Digitised_mss_july2020_jan_2021
Excel: Digitised_mss_july2020_jan_2021(this format cannot be downloaded on all web browsers).
Over the last months, some 620 Greek papyri have been published online, spanning from the 3rd century BC to the early 8th century. These include pieces of Greek literature, such as the famous ‘Harris Homer Codex’, an 1800-year-old manuscript preserving portions of Homer’s Iliad, as well as hundreds of fascinating documents, such as letters of parents to their children, managers and employees, magical charms and shopping lists. You can view this video for a short introduction to cataloguing the Greek papyri.
Thanks to a collaboration with the Ägyptisches Museum und Papyrussammlung of the Staatliche Museen in Berlin, more than 250 inscribed pottery sherds (ostraca) from the 3rd century BC to 3rd century AD are now available online for the first time. A short overview is presented in our previous blogpost on ostraca.
In September, we reported on the progress of a major digitisation programme, Heritage Made Digital: Tudor and Stuart manuscripts. This collaborative project, involving teams across the British Library, intends to publish approximately 600 Tudor and Stuart manuscripts online. The selection encompasses original letters by members of the Elizabethan court; literary manuscripts of the works of important Elizabeth and Jacobean poets such as John Donne and Sir Philip Sidney; notes by the alchemist and astronomer John Dee; and collections of state papers that highlight numerous aspects of the political and social history of this period, particularly the relationship between Elizabeth I and Mary Queen of Scots. As of the start of this year, over a quarter of these manuscripts have now been published.
Since this summer, two particularly significant manuscripts have been digitised, both of which can be explored in their entirety on the British Library’s new Universal Viewer. The Sherborne Missal, acquired by the British Library in 1998, has been called the ‘unrivalled masterpiece of English book production in the fifteenth century' (Kathleen Scott), with each of its hundreds of pages replete with astonishing illumination. Readers can learn more about the Sherborne Missal in our previous blogpost. The volume was also recently featured on BBC Radio 4’s Moving Pictures programme.
Meanwhile in November, the British Library acquired and digitised the most important surviving manuscript of the works of Lewis of Caerleon, a highly influential mathematician, theologian and astronomer, who was imprisoned in the Tower of London towards the end of the reign of Richard III (r. 1483-1485). The volume contains the most complete collection of his astronomical and mathematical works, including texts that are unattested elsewhere, as well as its original medieval binding and an unparalleled series of astronomical tables and diagrams. Learn more in our earlier blogpost on the Lewis of Caerleon manuscript.
Many images of our manuscripts are also available to view and download from our Catalogue of Illuminated Manuscripts which is searchable by keywords, dates, scribes and languages.
Enormous thanks to all the members of staff across the Library whose hard work has made these achievements possible despite the difficult circumstances this year.
We wish all our readers a Happy New Year and hope you enjoy exploring our digitised collections!
Follow us on Twitter @BLMedieval
Medieval manuscripts blog recent posts
- Medieval Women at the British Library shop
- Nunning amok
- Educating Ippolita
- Women at work
- Birgitta's marvellous marginalia
- Keeping a cat and other rules for anchoresses
- Maidens or monsters?
- Our first 1000 digitised manuscripts return
- Medieval Women: 1 Month to Go!
- Tickets go on sale for Medieval Women exhibition
Archives
Tags
- Africa
- Alexander exhibition
- Ancient
- Anglo-Saxons
- Animals
- Black & Asian Britain
- British Library Treasures
- Calendars
- Classics
- Decoration
- Digital scholarship
- Early modern
- Elizabeth and Mary exhibition
- English
- Events
- Exhibitions
- Fashion
- Featured manuscripts
- French
- Gold exhibition
- Greek
- Harry Potter
- Humanities
- Illuminated manuscripts
- International
- Ireland
- Latin
- Law
- Leonardo
- LGBTQ+
- Literature
- Magna Carta
- Manuscripts
- Maps
- Medieval
- Medieval history
- Medieval women
- Middle East
- Middle east
- Modern history
- Music
- Olympics
- Palaeography
- Polonsky
- Printed books
- Rare books
- Research collaboration
- Romance languages
- Royal
- sacred texts
- Sacred texts
- Science
- Scotland
- Slavonic
- South East Asia
- Visual arts
- Women's histories
- Writing