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887 posts categorized "Illuminated manuscripts"

18 May 2020

Fabulous Mr Fox and other wise tales

Early in the 1400s, Ulrich von Pottenstein (c. 1360–1417), a clerk and chaplain to Duke Albert IV of Austria, translated into German a collection of Latin fables. Known in their expanded version as Das Buch der natürlichen Weisheit ('The Book of Natural Wisdom'), these fables describe the interactions between animals, humans, plants and the natural elements in order to teach moral lessons to their readers. One of the finest illustrated copies of this work, found in Egerton MS 1121, has recently been digitised. This manuscript, containing more than 70 fables, can teach us much about wisdom, beginning with:

(1) Listen to your sense of reason.

When the animals gather to choose the wisest, they divide into two factions. The land animals nominate the Fox and the birds elect the Raven. But the Monkey intervenes, explaining that they have chosen not with reason but with carelessness and poor judgement. They have allowed themselves to be misled, mistaking the cunning of the Fox and Raven for wisdom.

The land animals gather around the brown Fox (left), and the birds around the black Raven (right).

The Fox and Raven are chosen as the wisest animals: Egerton MS 1121, f. 4v

(2) Question things that appear to be certain.

The Fox plays dead in order to catch the Raven, who is sitting in a tree. The scavenging bird comes closer but, knowing the Fox’s cunning, inspects the ‘carcass’ from a safe distance. When the Raven notices that the Fox’s heart is beating, he drops a stone on his head and calls him out as a deceiver. The Fox, in turn, drops his charade.

he brown Fox plays dead under the tree in which the Raven sits.

The Fox and the Raven: Egerton MS 1121, f. 7v

(3) Choose your company carefully.

The Fox has remorse for his sins and decides to go on a pilgrimage. En route, the Dog, Donkey, Bear, Lion, Wolf, Swine and Peacock try to join him, but the Fox considers them imprudent and shakes them off. Instead, he chooses wiser animals as his fellow pilgrims: the Ant, Tracking Dog, Ox, Hedgehog, Hare, Lamb, Monkey and (multi-coloured) Panther. The Fox explains that, if you keep company with the wise and holy, you will become wise and holy as well.

On the left, the Fox rejects animals as fellow pilgrims. From bottom to top they are: the Dog, Donkey, Bear, Lion, Wolf, Swine, and Peackock. On the right, the Fox invites other animals to join him on his pilgrimage. From bottom to top they are: the Ant, Weasel, Ox, Hedgehog, Hare, Lamb, Monkey, and Panther with multi-coloured spots.

The Pilgrim Fox chooses his company: Egerton MS 1121, f. 36r

(4) Listen to good advice.

The Monkey decides to follow a sailor into the mast of a ship. The Raven warns against it, but the Monkey ignores the advice, falls down and hurts himself. He then sits on a king's throne, ignoring the warning of the Fox. Only when he is thrown off and bitten by dogs does he realise that he should listen to sound advice.

On the left, the Monkey climbs into the mast of a ship while the Raven, to his left, warns him. On the right, the Monkey holds a golden sceptre and sits on the throne of a king while the Fox, below him (in the right lower corner), warns him. Below the boat and throne, the Monkey is being bitten by two white dogs.

The Monkey ignores the advice of the Raven and the Fox: Egerton MS 1121, f. 48v

(5) Don’t put yourself above others.

A Cloud, newly born from the Earth, leaps high up into the air. Her mother, Earth, implores her to return. But the Cloud answers that she wants to raise herself above all the things in the natural world. The Earth then teaches her that those who exalt themselves will fall deep. Even the Sun, which raises itself high into the sky, goes down. It is better to be humble. As a reminder of this, Nature has placed the human heart and feet, that keep the entire body going, below the head. The Cloud is persuaded and lets herself fall back to Earth.  

A blue undulating beam, representing the new-born Cloud, leaps up into the air from a green field with flowers, representing the Earth.

The new-born Cloud leaps up from the Earth: Egerton MS 1121, f. 58v

(6) Use your powers wisely.

A fish with razor-sharp teeth tells the Swordfish that he would like to have a sword as well, in order to rob others. The Swordfish replies that it would be best if the other fish doesn’t have a sword or even teeth: corrupted hearts always take the opportunity to use the good things they have for evil purposes, turning their own luck into unhappiness.

Two blue-grey fish with scales in a small pond. The fish on the left has razor sharp teeth (Toothfish), while the fish on the right holds a sword in its mouth (Swordfish).

The ‘Toothfish’ and the Swordfish: Egerton MS 1121, f. 67r

(7) Greed leads to more loss than gain.

Having devoured yet another prey, the gluttonous Crocodile lies sleeping with its jaws open. The bird ‘Scrofilus’ seizes its opportunity, crawls inside the Crocodile’s mouth, and mortally wounds him from the inside. The Crocodile wakes up and asks why the bird has injured him. Scrofilus explains that those who always desire more always lose more than they gain. Alexander the Great, who conquered the whole world, always wanted to possess more lands; he was never satisfied and became poor in heart as a result.

A green crocodile with a large curled tail sleeps with its jaws open. A grey bird that sits in a tree above him flies down and wounds him inside his mouth.

Scrofilus mortally wounds the sleeping Crocodile: Egerton MS 1121, f. 97v

(8) Wealth always comes with a price.

The Monkey wants to grow a long tail like that of the Fox. But he then meets the Elephant who has removed his tusks to avoid being used in battle; the Swallow whose stomach has been cut open for the precious ‘swallow stone’ (Chelidonius); the Beaver who has removed his testicles to escape hunters looking for his castoreum; and the Peacock whose shiny tail has been cut off. The Monkey realises that wealth always comes with suffering and forgets about the tail. 

A brown monk talks with a brown Fox. Behind them stands the Elephant without tasks and with a castle on his back.

The Monkey with the Fox and the tuskless Elephant: Egerton MS 1121, f. 102r

(9) Good things take time.

The Gourd is proud to have reached the same height as the 100-year-old Palm within only a few summer days. The plant thanks Nature for allowing him to grow so quickly. But the Palm hears the Gourd’s boast and replies that what grows quickly will also wither quickly. The Palm gives the example of the quick-growing fish ‘Effimer’ (Ephemeral) that only lives for one day, and the slow-growing elephant that lives for 300 years.

On the left stands a palm tree with green foliage. Next to it, on the right, stands a Gourd with large green fruits and lobed leafs.

The Palm Tree and the Gourd: Egerton MS 1121, f. 121v

(10) Seek treasure inside yourself.

A Youth wants to get rich by visiting the ‘Golden Mountains’ in India. Upon reaching the emerald-covered mountains of pure gold, an Old Man warns him that all visitors are killed by griffins, fabulous creatures with the body of a lion and the head and wings of an eagle. The Youth is downcast but the Old Man explains that he already carries the greatest treasure inside his own heart. If he listens to his heart — and not greed — he will only seek pure goodness and not gold. Because gold only leads to vice, the peaceful Brahmani (‘Bragmani’) dispose of their gold in deep lakes and Nature hides it from mankind deep inside the Earth. The Youth thanks the Old Man for helping him find true treasure and no longer desires material wealth.

A Youth, wearing a pink robe with blue tights, is warned by an Old Man, with a beard and wearing a purple robe. In the right upper corner are the Golden Mountains with griffins flying around them.

The Old Man warns the Youth about griffins in the Golden Mountains: Egerton MS 1121, f. 114v

Follow your voice of reason, avoid bad company and tricksters, listen to good advice, stay humble, live a measured life, take time to grow, and look inside your own heart. That’s the path to Natural Wisdom.

 

Clarck Drieshen

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14 May 2020

How to be a hermit

When John Donne famously remarked that ‘no man is an island’, he meant, in a literal sense, that no person is isolated. The word ‘isolate’ comes from the Latin insulatus ('insulated'), which came, in turn from insula ('island'). Insulatus became Italian isolato, which gave us the Modern English ‘isolate’. Many of us are currently feeling the pain of being islands, isolated from family or friends. But, throughout history, many cultures have construed isolation as having a symbolic power. This tradition was especially strong in the Christian West in the Middle Ages, when people chose to 'island' themselves to bring them closer to God.

Medieval Christian solitaries often sought to emulate Biblical examples. The Old Testament prophet Elijah was visited by an angel who told him to travel for forty days and forty nights to Mount Horeb. There he dwelt in a cave and heard the voice of God (1 Kings 19:7–10). Elijah’s retreat was emulated by later figures. For instance, John the Baptist retreated into the desert in fulfilment of a prophecy of Isaiah that he would be a ‘voice of one crying in the desert’. There he wore camel skins, fed on locusts and wild honey, and preached penance, before he baptised Christ in the River Jordan (Matthew 3:3–13). Christ also famously emulated Elijah’s forty days and forty nights when he was tempted in the wilderness by the Devil (Matthew 4:1–11).

An initial in an illuminated manuscript, showing John the Baptist wearing animal skins

A historiated initial 'D'(eus), showing John the Baptist clad in animal skins, in the Hours of Bonaparte Ghislieri (Bologna, c. 1500): Yates Thompson MS 29, f. 48r

In the 3rd  and 4th centuries, a group of people retreated into the Egyptian desert to pursue lives of isolation. E. A. Jones has noted that, when Christianity was adopted as the official religion of the Roman Empire under the Emperor Constantine (r. 306–337), it 'lost its dangerous, ‘edgy’ status as a countercultural movement', so that devout Christians could no longer seek martyrdom (Hermits and Anchorites in England, 1200–1550, Manchester University Press, 2019, p. 2). Consequently, they sought other forms of martyrdom in regimes of self-discipline and the denial of bodily desire. These figures saw themselves as spiritual athletes (many Christian writers of this period used the term askesis, which was originally used of athletes training for a contest), intent on difficult and arduous labour in the pursuit of spiritual perfection.

Perhaps the most famous of the Desert Fathers was St Anthony of Egypt (c. 251–356), who is often considered the ‘founder of monasticism’. He made his life in the wilderness, where he was soon joined by followers with whom he formed an early monastic community. Like many hermits, he is said to have undergone demonic torments, including being tempted by devils in the shape of beautiful women and wild beasts. He is the patron saint of animals, skin diseases, farmers, butchers, basket-makers, brush-makers and gravediggers.

A miniature of St Anthony with 2 pigs at his feet

St Anthony in the desert, in the Hours of Charles le Clerc (Netherlands, 15th century): Add MS 19416, f. 126v

Alongside these Desert Fathers, there were also Desert Mothers. Perhaps one of the most engaging stories is that of St Mary of Egypt. Mary lived in the city of Alexandria, where she led a dissolute life for 17 years, ‘lying in the fire of promiscuity’ as the Old English version of her Life puts it. One day, she saw a large crowd of people hurrying to the sea to board a boat. They told her they were going to Jerusalem to venerate the Cross and she decided to join them, but not necessarily for religious reasons. In the Old English translation of her Life in Cotton MS Julius E VII, Mary describes how, ‘I saw ten young men standing together by the shore, good-looking enough in body and in demeanour … for the pleasure of my body’ (translated by Hugh Magennis, The Old English Life of Saint Mary of Egypt, University of Exeter Press, 2002, pp. 85–87). Mary travelled with them, but in Jerusalem she experienced a religious conversion. Thereafter she retreated into the desert, where she lived for 47 years, subsisting on desert plants and wearing only ‘the garment of the word of God’, when the scraps of her clothes had withered away. You can read more about her in our blogpost Hairy Mary.

A detail from the Dunois Hours, showing Zosimas handing his cloak to St Mary of Egypt

St Zosimas hands his cloak to St Mary of Egypt, from the Dunois Hours (Paris, c. 1439–c. 1450): Yates Thompson MS 3, f. 287r

In early medieval England, a number of figures sought to emulate the Desert Fathers and Mothers. St Guthlac was a 7th-century Mercian who, after a life as a soldier, retreated to the East Anglian fens (presumably the closest approximation of a desert that rainy England could offer). There he lived in a disused barrow on an island, and dispensed spiritual counsel to those who visited him. The 8th-century Life of Guthlac by a monk named Felix described how he fasted often, eating only barley bread. He had terrifying visions of devils, which some modern scholars think may have been the result of ergot poisoning. (Ergot is a fungus which can grow on barley and produces a compound similar to lysergic acid or LSD.) Guthlac’s life is clearly modelled, to some degree, on that of St Anthony. The modern medical explanation for Guthlac’s torments is ironic, because St Anthony’s intercession was often invoked by sufferers of ergotism.

A roundel from the Guthlac Roll, showing St Guthlac being tormented by demons

St Guthlac being tormented by devils, in the Guthlac Roll (England, late 12th or early 13h century): Harley Roll Y 6

Each of these figures lived in isolated places away from human society. In England a form of eremitical life emerged around the late 11th century called anchoritism, which allowed people to live as recluses but within the fold of society. Anchorites or anchoresses (the female form) would permanently enclose themselves in cells attached to a church in order to live a life of prayer and contemplation. The word comes from the Greek ἀναχωρεῖν (‘anachorein’) meaning ‘to retire or retreat’. In their cells they lived a life of extraordinary restriction. They had a small window which looked onto the church, another which led onto a servant’s parlour (through which they could receive food and get rid of waste) and a third window on the church yard or street, from which they could dispense spiritual counsel. They were otherwise confined to a single room for what could be decades. You can read more about the lives of anchoresses on the Discovering Literature: Medieval website.

A miniature showing an anchoress being enclosed

Miniature of an anchoress being enclosed, in a pontifical (England, 15th century): Lansdowne MS 451, f. 76v

Perhaps the most famous English anchoress was Julian of Norwich, who wrote the first work in English authored by a woman. During a period of illness in 1373, at the age of 30, Julian experienced visions of Christ. She recovered and composed a short account of her experiences. This account may have been submitted to ecclesiastical authorities when she applied for the right to become an anchoress. Her application was successful and she lived in a cell at St Julian’s Church in Conesford, in Norwich, for at least 20 years. During this time, she meditated on the meaning of her visions, producing a longer version of her initial account (which survives only in post-Reformation copies). This second version of the text represents Julian’s transition from mystic to sophisticated theologian. It is an elegant piece of rhetorical writing, in lyrical prose, which contains some unforgettable imagery. Given the privation of her life — a life of permanent enclosure — Julian’s work is strikingly, almost radically, hopeful.

The opening page of Julian of Norwich's treatise

The short version of Julian of Norwich's Revelations of Divine Love (England, 15th century): Add MS 37790, f. 97r

Julian never makes reference to the realities of her way of life. At one point she writes that ‘this place is pryson, and this lyfe is pennannce’, but she was likely referring to her life on Earth, rather than the confines of her cell. Her work is instead suffused with optimism. Julian’s most famous line, 'all shall be well and all shall be well and all manner of things shall be well', delivers a hopeful message of love as the guiding force of the universe.

A page from from a 17th-century manuscript containing the Long Text of Julian of Norwich's Revelations of Divine Love.

Julian of Norwich’s Long Text of Revelations of Divine Love (France, c. 1675): Stowe MS 42, f. 33r

In this time of isolation, the lives of medieval hermits may seem stranger to us, as we realise the true toll that isolation takes. But this strangeness perhaps also gives us a new appreciation of these figures, battling demons in mountain caves or fenland barrows or ‘islanded’ in small, dark cells. Julian’s hope in the darkness is a message that speaks to us across the centuries.

 

@marywellesley

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06 May 2020

The legend of Alexander in late Antique and medieval literary culture: PhD studentship at the British Library

The British Library is collaborating with Durham University to offer a fully-funded full-time or part-time PhD studentship via the AHRC Collaborative Doctoral Partnership scheme. The student’s research will focus on the legend of Alexander the Great, and the successful applicant will be supervised by Dr Venetia Bridges (Durham) and Dr Peter Toth (British Library).

Detail of a miniature of Alexander and the Wheel of Fortune

Alexander the Great on Fortune’s Wheel, in a French chronicle of the ancient world (France, 3rd quarter of the 15th century): Harley MS 4376, f. 271r (detail)

Alexander the Great is one of the most fascinating figures of the ancient world. He conquered the world from Greece to India in less than 10 years. Although he died in 323 BC when he was only 33, Alexander's legacy continues to influence European, Middle Eastern and Asian cultures.

A drawing of Alexander the Great holding an orb and sceptre, with Philosophy holding a pot and brush

Alexander the Great, anointed by the personification of Philosophy, in a Latin version of the Alexander Romance (England, last quarter of the 11th century): Royal MS 13 A I, f. 1v

In the last two millennia, Alexander the Great has been represented as a magician, a scientist, a statesman, a philosopher and as one of the greatest explorers of humankind. The British Library’s collection of materials relating to the legend of Alexander provides an exceptional opportunity for PhD research into his immense impact on European literary culture from a transnational and multilingual perspective. As a student at Durham but working on the British Library’s collections, the successful applicant will have a unique opportunity to study the fascinating Alexander legends in their primary sources. This studentship will coincide with an exhibition about the legends of Alexander to be held at the British Library in late 2022. 

Miniatures of Alexander the Great and his army fighting blemmyae

Alexander the Great fighting the headless blemmyae in a French version of the Alexander Romance (Flanders 1st quarter of the 14th century): Harley MS 4979, f. 72v (detail)

Legends of Alexander’s life and conquests were combined into a narrative, known as the Alexander Romance, soon after his death. This compilation quickly became a ‘best-seller’, with translations in almost every language of the medieval Mediterranean, including Latin, Armenian, Syriac, Ethiopic, Arabic, Persian, English, French and German. Moreover, many of these texts are lavishly decorated with fascinating combinations of ancient and medieval imagery.

Applicants are invited to propose a multilingual and comparative project on Alexander’s reception from Late Antiquity to the close of the Middle Ages in European contexts, with a particular focus on the Alexander Romance. The proposal should focus on texts in more than one language, and include manuscripts in the Library’s collections. Possible topics include, but are not limited to, the following:

  • the Alexander Romance’s influence upon high medieval literature (11th-13th centuries);
  • the Alexander Romance’s influence on travel and scientific literature and geographical exploration;
  • the Alexander Romance’s dissemination in the later Middle Ages (14th-15th centuries) in translations, adaptations and material witnesses;
  • a comparative study of the Alexander Romance in Western (European) and Eastern (Byzantine and Slavonic) versions;
  • the role of Alexander in royal and religious propaganda, including ‘nationalist’ historiographies and Crusader literature;
  • a study of key medieval manuscripts and/or texts related to the Alexander Romance that demonstrate aspects of Alexander’s appropriation in different cultures;
  • the Late Antique beginnings of the Alexander Romance’s textual histories.

Applicants

The successful applicant will have multilingual interests in medieval and/or late Antique literature and culture with reading fluency in at least two European languages. Applicants should have received a first or high upper-second class honours degree and a master’s either achieved or completed by the time of taking up the doctoral study, both in a relevant discipline. Applicants must satisfy the standard UKRI eligibility criteria.

Stipend

For the academic year 2020-21 the student stipend will be £16,885, consisting of £15,285 basic stipend, a maintenance payment of £600 and an additional allowance of £1,000. The British Library will also provide a research allowance to the student for agreed research-related costs of up to £1,000 a year.

Duration

The studentship is fully funded for 3 years and 9 months full-time or part-time equivalent, with the potential to be extended by a further 3 months to provide additional professional development opportunities.

For full details and how to apply, please visit https://www.dur.ac.uk/english.studies/postgrad/support/

The deadline for applications, including references, is 5pm on 29 May 2020.

 

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05 May 2020

An atlas fit for a Tudor queen

The Tudor period saw Britain transform into a major maritime power, boasting a formidable navy and sending ships on voyages of exploration around the world. With this transformation came a surge of interest in maps and map-making at the Tudor Court.

A few weeks ago, we announced that we had digitised the Burghley Atlas (Royal MS 18 D III), an important Early Modern collection of maps made for Elizabeth I’s principal minister Sir William Cecil. Today, we are highlighting another newly digitised item, widely regarded as one of the masterpieces of 16th-century cartography: The Queen Mary Atlas (Add MS 5415 A).

An opening from the Queen Mary Atlas, showing an illustrated map of the British Isles and the western coasts of Europe and the northern coast of Africa
A map of the British Isles and the western coasts of Europe, with part of Belgium, Spain and Portugal, and the northern coast of Africa, from the Queen Mary Atlas, Add MS 5415 A, f. 10r

The Queen Mary Atlas was made by a Portuguese map-maker called Diogo Homem (b. 1521, d. 1576). After being exiled from Portugal in 1544 following a murder accusation, Diogo stayed in England and then in Venice. He made the Queen Mary Atlas between 1555 and 1558, most likely while he was still living in England.

The Atlas takes its name from Queen Mary I (r. 1553–1558), who is thought to have commissioned it as a gift for her husband Philip II of Spain (r. 1556–1598). However, it was not completed until after Mary’s death and was instead given to her sister Queen Elizabeth I (r. 1558–1603). One of the maps in the manuscript shows the arms of Spain, joined with England, resting over the British Isles. The arms of Spain have been visibly defaced. According to one tradition, the erasure of the Spanish arms may have been done by Elizabeth herself, whose navy famously defeated the Spanish Armada in 1588.

A detail from the Queen Mary Atlas, showing an illustration of a map of the British Isles, accompanied by heraldic devices.
The joined arms of England and Spain above a map of England and Wales. The arms of Spain have been defaced, Add MS 5415 A, f. 10r detail

The Atlas consists of a total of nine maps. The first represents the extent of the whole world that was known in the mid-16th century. A Latin inscription within its decorative border reads: 'Form of the whole world and survey of the navigation of the lands of the Earth' (Universalis mundi figura atque navigationum orbis terrarium scitus). You can see that the Australian continent is completely missing and much of northwestern America is still uncertain.

Another inscription in the lower right-hand corner of the map features Diogo’s signature, indicating that he completed it in 1558, the year Elizabeth came to the throne.

World Map
A map of the known world, from the Queen Mary Atlas, Add MS 5415 A, f. 8r

The remaining eight maps focus on specific regions or continents. Diogo highlights the coastlines of each country in these charts, outlining them in different colours: red, blue, green, orange, and in some cases gold. He also prioritises the locations of ports and islands over mainland cities and other topographical features, meticulously inscribing their names on the chart in minute lettering.

A map of the East Indies
A map of the East Indies, from the Queen Mary Atlas, Add MS 5415 A, f. 18r

What marks the Queen Mary Atlas as one of the finest examples of cartography from this period is the richness of its illustrative details and embellishments. The seas, for example, feature numerous ships of various designs and sizes, from Spanish galleons to Ottoman barges. Some are even engaged in naval battles with each other.

Details from the Queen Mary Atlas, showing small illustrations of different ships
Illustrations of ships featured in the Queen Mary Atlas, Add MS 5415 A

Likewise, animals make frequent appearances, particularly in the maps of Africa and the Middle East. Northern Africa is home to a pride of lions and a pair of grazing camels. The lands around the Persian Gulf (modern-day Iran) include a tusked elephant walking through a landscape. Ethiopia features a black rhinoceros, whose distinctive skin has been represented as plated armour.

Details from the Queen Mary Atlas, showing illustrations of different animals
A pair of camels, an elephant, a pride of lions, and a rhino, from the Queen Mary Atlas, Add MS 5415 A

Then there are the sea monsters: scaled serpents, whales, sharks, and gigantic leviathans emerge from the waters and oceans. Perhaps they warn the viewer of the perils that might await a ship’s crew on the other side of the world.

Details from the Queen Mary Atlas, showing illustrations of different sea monsters
Sea monsters in the Queen Mary Atlas, Add MS 5415 A

Diogo includes detailed illustrations of some of the most prominent towns and cities, particularly those concentrated around the Mediterranean. They are represented with turrets and ramparts, and the domes and spires of churches and cathedrals, as well as the minarets of mosques in Arabia. In addition, each city is topped with the banner or heraldic arms of their ruling families and monarchs. The city of Rome (top right) with its seven hills, is decorated with the arms of the Papacy: the keys of St Peter below the papal tiara.

Details from the Queen Mary Atlas, showing illustrations of different cities, marked with banners and coats of arms
Cities represented in the Queen Mary Atlas, Add MS 5145 A

In addition to the maps, there are three double-page openings at the beginning of the manuscript devoted to tables and prefatory material. A large cosmographical wheel combines solar and lunar calendars. Tables of solar declination, which were used by navigators to establish the latitude of a ship at sea, appear as well. Finally, there is a particularly fine zonal map of the world, surrounded by ruddy-faced representations of the different classical winds blowing upon the globe.

A Zonal Map with personifications of the winds
A zonal map of the world, with representations of the different classical winds, from the Queen Mary Atlas, Add MS 5145 A

With its nautical focus, marine monsters and topographical wonders, the Queen Mary Atlas shows us a world in which geographical knowledge was rapidly advancing and in which two Tudor queens sought to put Britain on the map. You can now explore the manuscript in full on our Digitised Manuscripts site.

Calum Cockburn

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27 April 2020

Designing the Arnstein Bible

Following our blogpost on the Worms Bible earlier this month, today I focus on another remarkable German Romanesque Bible in the Library’s collection: the Arnstein Bible. Like the Worms Bible, it is enormous (540 x 355 mm), and now in two volumes. The first volume includes Genesis to Malachi, and the second Job to Revelation, with large illuminated and decorated initials at the beginning of the biblical books. The manuscript is fully digitised, and available to view online (Harley MS 2798 and Harley MS 2799).

Decorated initial of Solomon writing ‘Parabole Salomonis’, with busts of Wisdom, Fortitude, Justice and Prudence, at the beginning of Proverbs
Solomon writing ‘Parabole Salomonis’, with busts of Wisdom, Fortitude, Justice and Prudence, at the beginning of Proverbs, Harley MS 2799, f. 57v

The Bible was made at the Premonstratensian abbey of St Mary and St Nicholas in Arnstein, on the Lahn river about 30 kilometres east of Coblenz, which was founded in 1139 by the last count of Arnstein, Ludwig III (d. 1185), who became a lay brother there.

In date, the Arnstein Bible was produced around twenty-five years after the Worms Bible. Originally, the manuscript included historical annals recording important events related to the Abbey (now Darmstadt, Hessische Landesbibliothek, MS 4128), that reveal an approximate date for it of 1172. We also know the name of the man who wrote it, identified in the entry for that year as a brother called Lunandus.

Detail of decorated initial showing Solomon writing ‘Parabole Salomonis’, with busts of Wisdom, Fortitude, Justice and Prudence, at the beginning of Proverbs
Solomon writing ‘Parabole Salomonis’, with busts of Wisdom, Fortitude, Justice and Prudence, at the beginning of Proverbs, Harley MS 2799, f. 57v (detail)

Lunandus had a formidable task to undertake in planning out the design and layout of this enormous book. The text is written out in 39 lines to a page, with generous margins. Most of the biblical books and introductory material are presented in two columns of 130 mm in width.

An indication that this Bible is a great monastic book is the inclusion of not one, but rather three translations of the book of Psalms, arranged in three parallel columns, each of 80 mm width. This allowed the reader to study the variant Psalm texts across the page (see this previous blog post for more on St Jerome’s (d. 420) three translations of the Psalms in this Bible).

Three parallel Psalm translations, with decorated initials showing Christ making the sign of blessing, the Virgin and Child, and a bishop, at the beginning of Psalm 101
Three parallel Psalm translations, with decorated initials showing Christ making the sign of blessing, the Virgin and Child, and a bishop, at the beginning of Psalm 101, Harley MS 2799, f. 40r

For Lunandus, planning the layout for the transition from two to three columns and back again presented particular challenges. The three comparable versions of the Psalms proper finish about three-quarters of the way down the page (f. 57r). The next texts that had to be included only required one version; however the rest of the page was still ruled for three columns. Lunandus had to signal that the reader must switch from comparing the variant Psalm translations across the page to reading one column and then going to the next, sequentially.

He did this by identifying the following texts with a series of rubrics, or headings in red ink (the term rubric is derived from the Latin 'rubrica', the name of the red ochre pigment used to make the colour red). Lunandus presented the short so-called Psalm 151 in the first column and started the prologue to the next biblical book in the second and third columns.

The end of Psalms and the beginning of the prologue to Proverbs, written in three columns
The end of Psalms and the beginning of the prologue to Proverbs, Harley MS 2799, f. 57r

The rubric in the first column summarises the contents of Psalm 151: 'Hic p[salmu]s pr[opr]ie scriptus est David [et] extra numerum cum pugnaret cum gloria et in hebraicis codicibus non habetur' (This Psalm was written by David himself and is outside the number [of the Psalms] and is not contained in Hebrew bibles. It is about the time when David fought with glory.) The short text in seven verses follows below this heading.

The adjoining rubric, spread out over columns two and three, explains that the Psalms have ended, 'explicit libor psalmorum' (here ends the book of Psalms), and that the prologue to Proverbs is about to begin (incipit). The start of this prologue begins in the middle column. Here Lunandus left room for an enlarged initial letter on eight lines, the letter ‘C’ of the first word ‘Chromatio’, the name of the original addressee. The rest of the word is written in individual letters vertically to the right of the first letter. The initial itself is embellished with stylized acanthus leaf decoration punctuated with characteristically Germanic gold bands ornamented by small round dots that are cinched around the foliate form.

Deatil of the decorated initial at the beginning of the prologue to Proverbs
The decorated initial at the beginning of the prologue to Proverbs, Harley MS 2799, f. 57r (detail)

This sophisticated presentation of text and image represents a stunning achievement in scholarship and design. Like other great or giant Romanesque Bibles, the Arnstein Bible represents a testament to the commitment of its makers to the elegant presentation of the Word of God.

Kathleen Doyle

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Further reading

Walter Cahn, Romanesque Bible Illumination (Cornell, 1982), pp. 26, 230, 253 no. 8, pls 157, 162.

Jeffrey F. Hamburger, 'The Hand of God and the Hand of the Scribe: Craft and Collaboration at Arnstein', in Die Bibliothek des Mittelalters als dynamischer Prozess, ed. by Michael Embach, Claudine Moulin and Andrea Rapp, Trierer Beiträge zu den Historischen Kulturwissenschaften, 3 (Wiesbaden: Reichert, 2012), pp. 53-78 (p. 62, fig. 22, colour plate 17).

Scot McKendrick and Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames & Hudson and the British Library, 2016), no. 23.

23 April 2020

St George and the Garter

On St George’s Day (23 April) 1349, at St George’s Chapel in Windsor, the first annual assembly was held by the Order of the Garter, England’s oldest Order of Chivalry. Dedicated to George, the Order was founded by King Edward III (1312–1377) who wanted to revive the Knights of the Round Table of Arthurian Legend. Edward had appointed himself as the Order’s Sovereign, his son Edward the Black Prince (1330–1376) as Royal Knight, and 24 of his most loyal men as Knights Companions. He had chosen the French maxim ‘Honi soit qui mal y pense’ (‘Shamed be he who thinks ill of it’) as the Order’s motto, and a blue garter as its emblem, perhaps alluding to the girdle with which St George, according to medieval legend, had tamed a dragon before slaying it.

Two groups of men and women in blue mantles with blue garters on them, standing to the left and right of an altar on which St George on horseback impales a dragon with his lance. Behind him stands a woman with a pink gown and green headwear, and holding a white lamb on a leash, who represents the princess who, according to medieval legend, had been selected through a lottery to offer herself as food to the dragon.

An assembly of Knights and Ladies of the Garter (women were accepted soon after the Order’s foundation), before an altar of St George (Rouen, 1444–1445): Royal MS 15 E VI (The Talbot Shrewsbury Book), f. 439r

The rituals and symbols of the Order of the Garter are described and depicted in many richly decorated medieval and early modern manuscripts. The Pageants of Richard Beauchamp (Cotton MS Julius E IV/3), for example, features an early depiction of the Order’s ceremony for installing new Knights. This ceremony requires the Sovereign, aided by senior Knights, to place the garter — a dark blue velvet riband with a gold buckle and edges — around the newly-elected Knight’s lower left leg, just below the knee. In this manuscript, King Henry IV can be seen giving the garter to Richard Beauchamp (1382–1439), 13th Earl of Warwick as a reward for successfully defeating the Welsh at the Battle of Shrewsbury in 1405. (You can read more about the Pageants of Richard Beauchamp in this blogpost.)

A pen drawing showing Richard Beauchamp in full armour receiving the garter around his left leg from a Knight who kneels below him. To his left stands King Henry IV. They are surrounded by other Knights of the Garter

Richard Beauchamp receives the garter from King Henry IV (England, 4th quarter of the 15th century): Cotton MS Julius E IV/3 (The Pageants of Richard Beauchamp), f. 4v

Many manuscripts describe the history of the Order of the Garter (Harley MS 5415) or explain its statutes and ordinances about membership, functions, qualifications, costumes and ceremonies (Cotton MS Nero D II, ff 252r–265v, Harley MS 235, Harley MS 278, Lansdowne MS 783, Lansdowne MS 1207). These books indicate that the Knights had few obligations, apart from attending the annual assembly, participating in religious services, and wearing the garter whenever appearing in public. Their privileges were both honorific and spiritual: members could hang their swords, helmets, banners, stall-plates with their names, and heraldic devices at St George’s Chapel at Windsor. After death, the remaining Knights would perform large numbers of masses (100 for Knights and 1000 for the Sovereign) for the benefit of their souls.

An opening at the beginning of a manuscript containing the statutes and ordinances of the Order of the Garter, with, on the left page, a full-page drawing of the royal arms of the Order: an escutcheon encircled by the blue garter and with a royal crown in gold and red on top. The escutcheon has two halves: in the left half is the red cross of St George on a silver ground, and in the right half are the quartered royal arms of Queen Elizabeth I, featuring two quarters in blue with three fleurs-de-lis in gold, and two quarters in red with three lions in gold. On the right page, we see the opening of the statutes and ordinances, marked by a gold initial ‘T’, and written in a Gothic script with black ink

The Statutes and Ordinances of the Order of the Garter (England, after 1572): Lansdowne MS 1207, ff. 1v–2r

One important category of manuscripts relating to the Order of the Garter contains their members' coats of arms. Around 1415, the Order created its own officer of arms, known as the Garter King of Arms. In the 1430s, William Bruges (c. 1375–1450), the first to hold that office, created the Order’s first extant armorial, now known as the Bruges Garter Book (Stowe MS 594). The manuscript contains illustrations of the King and the 25 Founder Knights, all wearing heraldic tabards and Garter mantles and displaying their coats of arms. William Bruges himself, as the Garter King of Arms, is shown kneeling before St George.

St George in full armour and with a pink mantle, holding a jousting shield with a red cross on a white ground, and a lance and a sword with which he holds a green dragon down at this feet. To his right is the Garter King of Arms who is wearing a crown and a heraldic tabard with the coat of arms of Henry V (the same as those of Queen Elizabeth I), and is kneeling in prayer

William Bruges wearing a heraldic tabard that displays the arms of King Henry V, kneeling in prayer before St George (England, 1430s): Stowe MS 594, f. 5v

Other heraldic manuscripts from the Order contain collections of the arms of its then members. Their arms are easy to recognize since members had the right to encircle the shields (escutcheons) of their coats of arms with the blue garter, the Order’s emblem.

A list of the Knights of the Garter in the first year of the reign of King Henry V with in the page’s margins the coats of arms of its 26 members, including those of the King. Two have been left unfinished.

Armorial of the Order of the Garter (? London, 1588): Harley MS 1864, f. 2v

An important literary manuscript that is associated with the Order of the Garter’s early history is Sir Gawain and the Green Knight, perhaps the most famous medieval English romance. This Middle English poem sees Gawain, one of King Arthur's most valiant knights, undertake a quest during which he acquires a magical green girdle. Upon his return to Camelot, the Knights of the Round Table agree to wear a green sash in memory of Gawain’s quest, just like the Knights of the Garter, who would wear their garters on ceremonial occasions. What is more, an early owner of the unique copy of the poem (Cotton MS Nero A X) inscribed a motto below the text that is almost identical to that of the Order: ‘hony soit q[ui] mal penc’. This raises interesting questions about the poem's underlying meaning, and whether it comments on the ideals and practices of the Order.

Above, we can see the inscription of the Order of the Garter’s motto in brown ink in the manuscript of Sir Gawain and the Green Knight. Below this image is full-page miniature from the same manuscript, showing Gawain in full armour, kneeling before King Arthur, wearing golden crown and a blue mantle, and Queen Guinevere, wearing a golden crown and a green dress.

The Order of the Garter’s motto (above) and a full-page miniature of Sir Gawain returning to the court of King Arthur after completing his quest in Sir Gawain and the Green Knight (North-West Midlands, c. 1400): Cotton MS Nero A X/2, f. 128v and f. 130r

The Order of the Garter was celebrated in other poetic manuscripts. For example, we have a poem by William Tesshe of York, uniquely surviving in Harley MS 3437, in which he praises the Order’s Sovereign, Queen Elizabeth I, and honours each of its Knights separately. The manuscript is decorated with their coats of arms in colours and gold.

Another unique poem, extant in Harley MS 6103, is dedicated to George Villiers (1592–1628), who was Marquess of Buckingham and Lord High Admiral of England when he was admitted to the Order in 1620. The poem styles him as St George, his namesake, and claims that he too will curb ‘The conquerd dragon which hee [St George] leadeth tame’. An accompanying full-page illustration adorns Villiers with attributes that are rife with Garter imagery. It displays him as a knight wearing full armour, riding a horse with the arms of the Order on its caparison, holding a lance with a banner that displays St George slaying the dragon in one hand, and a dragon on a leash in the other. The dragon is apparently tamed by the garter that is hanging from its neck, suggesting an analogy between the Order’s emblem and the girdle with which St George subjugated his dragon.

This illustration shows George Villiers in full armour and riding a horse with a red caparison (horse cape) which displays the Order of the Garter’s coat of arms (the red cross of St George encircled by the blue garter). In his right hand, he is holding a lance with a yellow banner that features an image of St George slaying the dragon. In his left hand, he is holding a blue leash that goes around the neck of a small winged red dragon below him. From the dragon’s neck, and attached to the leash, hangs the blue garter with, what appears to be, a sketch of St George slaying the dragon inside it.

George Villiers with the symbols of the Order of the Garter (England, after 1620): Harley MS 6103, f. 3r

Music was central to the Order of the Garter’s religious celebrations at Windsor. The canons who performed its liturgical music produced original music compositions, and they were perhaps responsible for a creative and artistic rendering of a 16th-century melody for the Order’s motto (‘Honi soit qui mal y pense’) that has been inserted on a paper sheet into Royal MS 8 G VII. The music has been written on two 5-line staves that are shaped like the garter and a lance with which a knight charges a dragon. The composition is dedicated to the Earl of Arundel, probably Henry Fitzalan (1512–1580), the 12th Earl, who was admitted to the Order in 1544.

A 5-line music staff with neumes shaped in the form of the garter with inside it a knight charging a dragon with a lance that is made of another 5-line music staff with neumes, forming a melody for singing the Order’s motto in canon.

A canon for the Order of the Garter’s motto written on music staves that are shaped like the garter and a knight’s lance (England, 16th century): Royal MS 8 G VII, f. 1v

The Order of the Garter is nearly 700 years old. The rituals and symbols that its members practise today are preserved in manuscripts of great artistic and cultural value, many of which themselves date back centuries.

 

Clarck Drieshen

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13 April 2020

Medieval rabbits: the good, the bad and the bizarre

As this year’s Easter egg hunt is over, join us in a hunt through the pages of British Library manuscripts for some seasonal rabbits. Searching in our Catalogue of Illuminated Manuscripts yielded an amazing 80 images – they are everywhere! We found rabbits in the margins of prayer books and law books, in the borders of romances and chronicles, and even playing a supporting role in saints’ lives. Here are some of our favourites: from the cute and cuddly, to the dangerously criminal and the wonderfully weird.

Natural beauty

Each page of the Cocharelli Codex is decorated with features of the natural world, such as foliage, flowers, insects, birds, animals and seashells. The glorious meadow on this page includes a caterpillar, a dragonfly and two life-like hares.

 Detail from the ‘Cocharelli codex’, showing insects and two hares in the margin
Detail of insects and two hares from the Cocharelli codex, Italy, N. W. (Genoa); c. 1330 - c. 1340, Add MS 28841, f. 6v

Beasts of the earth

Medieval bestiaries are works containing images of animals with descriptions their attributes. The rabbit is described as ‘a wild and lithe beast’. In this image, Adam is naming a group of animals, including the rabbit, showing that man was considered lord over beasts.

Miniature from the Rochester Bestiary showing Adam naming the animals
Adam naming the animals in the Rochester Bestiary, England, S. E. (possibly Rochester); 2nd quarter of the 13th century, Royal MS 12 F XIII, f. 34v

Useful to humans

The British Library has a number of highly decorated books containing scenes from rural life in the Middle Ages. Such scenes often contain images of rabbits, showing how important these creatures were in the rural economy: they were farmed for their fur and meat and hunted with hounds or ferrets.

The Taymouth Hours contains a series of images of a lady hunting rabbits; here she sends a hound or ferret into a warren to flush out the rabbits inside.

A woman catching rabbits in the Taymouth Hours
A woman catching rabbits in the Taymouth Hours, England, S. E., c. 1260, Yates Thompson MS 13, f. 70v

A lordly rabbit

This Jewish liturgical book, the Barcelona Haggadah, contains the Haggadah, as well as liturgical poems and biblical readings for Passover. A colourful miniature shows the Israelites building a tower, supervised by an Egyptian master, at the beginning of the passage, ‘We were slaves to Pharaoh’. Above is a rabbit seated on a throne, being served wine in a golden goblet by a dog.

The Barcelona Haggadah image of Israelites being forced to build a tower by the Egyptians, with a marginal image of a dog serving a rabbit
The Israelites in captivity, with a marginal scene of a dog serving a rabbit in the Barcelona Haggadah, Spain, N. E., Catalonia (Barcelona), c. 1340, Add MS 14761, f. 30v

Rabbits in exile

Rabbits are not always in the margins – sometimes they take part in the action, as in this illuminated Book of Revelations. At the beginning, the Angel appears to St John while he is exiled on the Island of Patmos, with rabbits and a deer watching, in a lush, green landscape

the Angel appears to St John on the Island of Patmos, with rabbits and a deer watching
St John is visited by the angel on Patmos, Apocalypse with commentary, England, early 14th century, Royal MS 2 D XIII, f. 1r

Rabbits and the saint

John Lydgate’s Life of St Edmund tells the story of his martyrdom and how his severed head was looked after by a friendly wolf until it was found in a thicket by monks with hunting dogs. This miniature shows St Edmund's head being found and reunited with his body, still pierced with arrows. The dogs have now begun hunting rabbits, who scamper to their burrows.

The discovery of St Edmund's body, with dogs and rabbits in the foreground
The discovery of St Edmund's body, Lives of St Edmund and St Fremund, England, Bury St Edmunds, c, 1435, Harley MS 2278, f. 67v

Rabbits in a romance

This manuscript of Roman de la Rose opens with a scene of the lover dreaming of the rose and the walled garden of delights. In the lower margin are rabbits being chased by hounds (again). But, not to worry - they will have their revenge – see below!

Page from the Romance of the Rose, with a picture of the lover asleep in the decorated initial and two dogs chasing three rabbits in the lower margin
The lover asleep in the decorated initial, and dogs chasing rabbits in the lower margin, Roman de la Rose, France, 2nd quarter of the 14th century, Add MS 31840, f. 3r

Bunnies' revenge

The Smithfield Decretals is a large volume of canon law with narrative scenes added in the margins by a London artist. Rabbit hunting is depicted several times, but finally the rabbits take their revenge! There are several images of rabbits with bows and arrows shooting their persecutors, and a three-page series of a hound being brought to justice. First, he is bound, then he is tried by rabbits in an outdoor courtroom, and on the next pages, he is executed.

Rabbits bind and gag a dog in the Smithfield Decretals
Rabbits bind and gag a dog, the Smithfield Decretals, France, S. and London; 1275-1315, Royal MS 10 E IV, f. 62v
Rabbits conduct a criminal trial of a dog in the Smithfield Decretals
Rabbits conduct a criminal trial of a dog, the Smithfield Decretals, France, S. and London; 1275-1315, Royal MS 10 E IV, f. 63r

Trouble in a trumpet

We kept some of the weirdest rabbit images we found to last. This copy of the Holy Grail legend begins with a splendid illumination of Arthur’s court of Camelot and of Lancelot on his quest. Around the edges are scenes of jousting, a man shooting a butterfly, hybrid creatures, and in the upper margin, a naked man blowing a long trumpet out of which emerges…a rabbit!

Royal 14 E III f089r
A page from La Queste del Saint Graal, showing miniatures of Arthur and his court, and Lancelot on his quest, France, N., early 14th century, Royal MS 14 E III, f. 89r
Trumpet
Detail of a rabbit being blown out of a trumpet from the margins of La Queste del Saint Graal, France, N., early 14th century, Royal MS 14 E III, f. 89r

Jousting rabbit

This scene of a tournament with magnificent pavilions and finely-dressed knights is in a copy Froissart’s Chronicle. Look carefully, and in the decorative border are a rabbit and a snail jousting, both mounted on the shoulders of apes, in a parody of chivalric culture.

Harley MS 4379
A tournament, the 'Harley Froissart', Bruges, 1472, Harley MS 4379, f. 23v
Screenshot 2020-04-12 at 19.02.55
Detail of a rabbit and snail riding monkeys and jousting from the 'Harley Froissart', Bruges, 1472, Harley MS 4379, f. 23v

Sadly, we could not include all the great images we found, but why not try a search of your own? Go to the Catalogue of Illuminated Manuscripts and search ‘Rabbit’ or ‘Rabbits’ in the 'image description' field. Be careful, though – despite their cute and cuddly appearance, some can be dangerous!

Chantry Westwell

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11 April 2020

Exultet rolls: celebrating the return of the light

The medieval churches of Southern Italy maintained a very special Easter tradition. They celebrated the Easter Vigil of Holy Saturday from a scroll made to be used once a year for this specific ritual. Known as Exultet rolls, these manuscripts combine words, music and pictures to create an enthralling multimedia experience centred on the joyful theme of light returning to the world.

The British Library's Exultet roll (Add MS 30337) was made at the Benedictine abbey of Monte Cassino around 1075-1080. This ancient abbey was founded by St Benedict, father of the Benedictine order, in around 529. The use of Exultet rolls was a tradition that went back to the early Beneventan practices of the area, while the style of the paintings in Add MS 30337 was influenced by near-contemporary Byzantine works.

The beginning of the Exultet, with a large golden letter 'E'
The beginning of the Exultet, with a large golden letter 'E': Monte Cassino Exultet Roll, Add MS 30337, membrane 2

Exultet rolls were made for performance. They were designed to be read by a deacon standing in the church's ambo (a raised platform used for readings). As he was reading, he would turn the top of the roll over so that it draped in front of the ambo, displaying the images to the congregation. For this reason, the pictures are generally arranged upside-down in relation to the text so they would appear the right way up to the viewers. The people would look up and see the beautiful images unfurling before their eyes like a moving picture show.

The use of the Exultet roll is illustrated in the roll itself:

Image of a deacon reading the Exultet roll in church, with the top of the roll draped over the ambo, beside the Paschal candle
Image of a deacon reading the Exultet roll in church, with the top of the roll draped over the ambo, beside the Paschal candle: Monte Cassino Exultet Roll, Add MS 30337, membrane 11

The Exultet is a lyrical prayer, named after its opening words 'Exultet iam angelica turba caelorum' (Rejoice now, angelic choir of the heavens), which is chanted during the ceremonial lighting of the Paschal candle during the Easter Vigil. The Exultet roll provides the text for the ritual along with neumes, a type of medieval musical notation, which guide the melody.

The roll begins with an image of Christ enthroned and adored by angels, with a banner that reads, 'Lumen xpisti lumen xpi lumen xpi' (light of Christ, light of Christ, light of Christ), emphasising the central message of the ritual—that the Resurrection of Christ at Easter is the return of light to the world.

Christ enthroned, adored by angels
Christ enthroned, adored by angels: Monte Cassino Exultet Roll, Add MS 30337, membrane 1

The text celebrates the renewal of life at springtime, illustrated by a personification of Mother Earth (Tellus Mater). She is depicted in the illumination as a naked woman with her arms outspread in a loving gesture, surrounded by plants and nurturing a cow and a serpent at her breasts. Based on classical imagery, this represents the natural abundance and goodness of Earth.

Mother Earth (Tellus Mater)
Mother Earth (Tellus Mater): Monte Cassino Exultet Roll, Add MS 30337, membrane 3

Following Mother Earth is an image of Mother Church (Mater Ecclesia), where the juxtaposition of the two allegorical mothers suggests worldly and spiritual nurture. As the text announces, Mother Church is celebrating and adorned with brightness. She is shown richly dressed like an empress, holding up a church and surrounded by the faithful.

Mother Church (Mater Ecclesia)
Mother Church (Mater Ecclesia): Monte Cassino Exultet Roll, Add MS 30337, membrane 3

The text goes on to recall all the events that make the eve of Easter so gloriously bright, declaring: 'This is the night which purged the shadows of sin with a column of light' (Hec igitur nox est que peccatorum tenebras columne illuminatione purgauit).

As it explains, on the Paschal feast, God delivered the Israelites from captivity in Egypt through the parting the Red Sea. On the eve of Easter, Christ descended to the underworld and redeemed the righteous through the Harrowing of Hell, cancelling the sin of Adam and Eve. On this night, Christ's Resurrection took place. Each of these events is illustrated in the roll.

The crossing of the Red Sea
The crossing of the Red Sea: Monte Cassino Exultet Roll, Add MS 30337, membrane 7

After this, the deacon asks God to accept the offering of the Paschal candle, then gives lengthy praise to the bees who produced its wax. The text announces that 'the bee surpasses all the other living things that are subject to man' (Apis ceteris que subiecta sunt homini animantibus antecellit).

Drawing on the Georgics of Virgil, the text describes how the bee emerges in the springtime and immediately gets to work, gathering flowers, building a hive, making honey, forming wax and caring for the young. In this way, the bees are a fitting symbol of Spring and of the community working together for the common good.

Bees gathering nectar and taking it to their hive, with a beekeeper harvesting wax
Bees gathering nectar and taking it to their hive, with a beekeeper harvesting wax: Monte Cassino Exultet Roll, Add MS 30337, membrane 10

Bees are also praised for their chastity, which the text links to the Virgin Mary whose chaste motherhood made the events of Easter possible.

Virgin and Child, with two figures (probably angels) cut out from either side
Virgin and Child, with two figures (probably angels) cut out from either side: Monte Cassino Exultet Roll, Add MS 30337, membrane 11

The Exultet ends with a prayer for the end of the dark night and for the rise of the morning star that will never set. It asks God to grant peace and joy to the clergy, the pope, the bishop, all the congregation and the emperor.

In the church, we can imagine the deacon coming to the end of the prayer with the light of the newly lit Paschal candle glinting on the gold of the Exultet roll. The bright images descending from the ambo brought the themes of the text to life. For the people gathered in the church and sharing the experience, the roll reinforced the joyful messages of hope, renewal and brightness of the Easter celebration.

Happy Easter to all from BL Medieval!

Eleanor Jackson

Follow us on Twitter @BLMedieval

Translations are from Thomas Forrest Kelly, The exultet in southern Italy (Oxford: Oxford University Press, 1996).

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