09 March 2019
Celebrating the spiritual life
International Women’s Day has inspired us to examine how medieval women used literature for shaping their daily lives. The hundreds of prayer books that are extant from late medieval female religious communities, for example, reveal how religious women used miraculous narratives to bolster their commitment to a life of prayer. One 15th-century German prayer book (Harley MS 2841) is a good case in point.
A prayer to the Virgin Mary in the 15th-century German prayer book: Harley MS 2841, f. 16r
Harley MS 2841 contains prayers for personal devotion that are phrased for a woman. One of them identifies her as a certain ‘Amelia’, and although her identity is unknown, she was almost certainly a nun. An added list of female names in the same manuscript includes another, later Amelia — namely ‘Amelia Zandt von Merl’, Abbess of Marienberg in Boppard in Rhineland-Palatinate (1581–1624) — as well as her successor, ‘Maria Margarethe Zandt von Merl’ (1624–1654).
A 17th-century list of nuns at Boppard: Harley MS 2841, f. 195r
The contents of Harley MS 2841 would have been especially well-suited for a novice or newly-professed nun. It features a miracle that tells of a woman whose ‘friends’ steal her inheritance when they learn that she has entered a convent. The nun is deeply distressed, but consoled when the Archangel Gabriel appears to her and teaches her a prayer that invokes the Joys of the Virgin Mary. The reader of the prayer book is promised similar consolation if she recites the prayer together with 100 Hail Maries in front of an image of the Virgin Mary.
An angel inhabiting the margins of the Archangel Gabriel’s consoling prayer: Harley MS 2841, f. 27r
This miracle survives in many prayer books from female religious communities in the Low Countries and Germany. Middle Dutch examples are extant in a 15th-century prayer book owned by an unidentified female religious community (Egerton MS 2904), and in an early 16th-century prayer book produced for a community of religious women dedicated to St Francis (Add MS 14042).
The Archangel Gabriel’s consoling prayer with a pasted-in woodcut of the Virgin with Child, c. 1517-1523: Add MS 14042, f. 161v
A number of female religious communities seem to have shared the miracle of the Archangel Gabriel within a literary culture they designed in support of their spiritual lives. This may have suggested to religious women that a life of prayer in an enclosed convent would provide them with divine protection and support in all their needs. But it may also have been a means for them to empower themselves against the various slings and arrows that continued to afflict them, despite being cloistered and metaphorically dead to the world. In a popular variant of the miracle, it is not the nun’s friends who distress her, but her parents, angered over her decision to enter a convent. In this sense, devotional literature could be an important means for religious women to become detached from disturbances from the outside world, and to reaffirm and celebrate their commitment to a spiritual life.
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05 March 2019
The Renaissance Nude
We are delighted that two British Library manuscripts are featured in the new exhibition at the Royal Academy entitled The Renaissance Nude, which is open from 3 March to 2 June 2019. As Thomas Kren, one of the exhibition's curators has commented, 'The British Library’s splendid loans make clear the way beloved themes from Greek and Roman mythology were kept alive during the Middle Ages, enjoying renewed interest in northern Europe in the 15th century. Such sumptuous illuminated manuscripts in a newly naturalistic style brought the often sensual narratives vividly to life.'
The exhibition has transferred from the Getty Museum in Los Angeles, and examines the renewed interest in ancient Greek and Roman art that brought the human body to the forefront of artistic innovation in the 15th and 16th centuries. The exhibition features paintings and drawings, sculpture, and bronze statuettes with various approaches to illusionistic depictions of the nude.
Diana bathing, in the Épître Othéa a Hector: Harley MS 4431, f. 126r
The first manuscript features an image of Diana bathing, illustrating one of the most well-known of late medieval texts, the Épître Othéa a Hector (letter from Othéa to Hector). This was the first major work of Christine de Pizan (d. c. 1430), in which Othéa, the goddess of wisdom, tells 100 moralising stories illustrating vice and virtue to instruct the young Hector of Troy.
Christine is widely regarded as one of Europe’s earliest female professional authors. She was born in Venice in 1365, but moved to Paris as a young child when her father was appointed the royal astrologer and alchemist to King Charles V (1364–1380). Christine’s writing career began at the age of 24, after her husband died suddenly, and she was faced with the necessity of providing for herself and her small children.
The British Library copy was completed under Christine’s direct supervision, and was dedicated to Queen Isabeau of Bavaria, who married King Charles VI (1380-1422) in 1385. The manuscript is now in two volumes and is fully digitised.
Our other spectacular manuscript on display in The Renaissance Nude is a copy of the Roman de la Rose, an allegorical poem that survives in more than 100 illuminated copies. The British Library copy is one of the finest. It is also been digitised in full, and it has been discussed in our blogposts 'Sex and death in the Roman de la rose' and 'Everything's coming up Roman de la roses'.
Zeuxis in the Roman de la rose: Harley MS 4425, f. 142r
The page exhibited at the Royal Academy illustrates the story of the painter Zeuxis. He employed five women to model for his nude depiction of Helen of Troy, combining the best features of each.
Both manuscripts come from the Harley collection, formed in two generations by the 1st and 2nd Earls of Oxford, Robert Harley (1661–1724), and his son, Edward Harley (1689–1741). You can find out more about the origins of the British Library’s collections in this article on the Medieval England and France, 700-1200 website.
The Renaissance Nude is on show at the Royal Academy in London until 2 June 2019.
Kathleen Doyle
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22 February 2019
Through the looking glass
If you came to our Anglo-Saxon Kingdoms exhibition, you may have seen the Guthlac Roll, made in the late 12th or early 13th century. Look here and you'll notice that two figures in this roll seem to be wearing spectacles. It is very unlikely that these spectacles were part of the original design: exploring how spectacles are represented in medieval manuscripts suggests that both they and the plume rising from the seated figure's cap were added in the early modern period.
Roundel of Beccelm speaking with St Guthlac’s sister Pega: Harley Roll Y6, roundel 15
One of the first concrete references to spectacles dates from the early 14th century. On 23 February 1305, Giordano da Rivalto, a Dominican friar from Pisa, delivered a sermon that partly celebrated the ingenuity of mankind. Giordano stated, ‘It is not yet twenty years since there was found the art of making spectacles (Italian: occhiali)'. Although it is doubtful that spectacles were invented in a single eureka moment, Giordano’s bold claim suggests that spectacles were certainly in use in some areas from the late 13th century.
The earliest surviving artistic depictions of spectacles date to the 14th and 15th centuries. This 15th-century Book of Hours, produced in northern Italy, includes a detail of monks singing a requiem, with one member of the group wearing spectacles.
Detail of a miniature of monks singing a requiem, with the celebrant wearing spectacles, at the beginning of the Office of the Dead: Harley MS 2971 f. 109v
An extremely clear illustration of spectacles can be found in another 15th-century Book of Hours, produced in central France, perhaps Tours. In this image, St Mark holds spectacles to his eyes as he reads a book, while his evangelist symbol, the lion, looks on eagerly from the side.
Detail of a miniature of Mark reading a book and holding spectacles to his eyes: Yates Thompson MS 5, f. 12r
Ancient and medieval texts, many of them pre-dating the surviving artistic depictions, also occasionally refer to transparent materials being used as visual aids. One of the earliest descriptions is found in Pliny the Elder’s Natural History, completed shortly before his death in AD 79. Pliny shared an anecdote recalling how the emperor Nero used to watch gladiator fights with the assistance of a mineral called a smaragdus. According to Pliny, a smaragdus could be concave to ‘concentrate the vision’ or laid flat to ‘reflect objects just as mirrors do’. It is unclear whether Pliny thought that Nero used the smaragdus as a reflective device or to enhance his vision. Pliny also described how a smaragdus was a green mineral, perhaps emerald, malachite or the green varieties of jasper. It is certainly tempting to suggest that Nero used emeralds to enhance his view of the gladiators.
Detail of a miniature in colours and gold showing Pliny writing in his study and a landscape with animals, rivers, the sea, Sun and Moon: Harley MS 2677, f. 1r
In some early texts, scholars explained the scientific principles behind the use of corrective lenses. In the 2nd century, Ptolemy wrote on the topic in his Optics. Two Arabic authors from the 10th and 11th centuries, Ibn Sahl and Alhazen, later expanded on Ptolemy’s explanation. The English friar Roger Bacon also addressed the topic in his Opus Majus (c. 1266), during his time in Paris.
Robert Grosseteste also described the process in his De Iride (‘On the Rainbow’), composed between 1220 and 1235. Grosseteste described how ‘we can make objects at very long distance appear at very close distance’, perhaps describing an early telescope. Grosseteste further remarked how lenses could make small things larger when observing them at close distances, so that it is ‘possible for us to read the smallest letters at incredible distance, or count the sand, or grain, or grass, or anything else so minute’.
Detail of an historiated initial 'A'(mor) of Robert Grosseteste: Royal MS 6 E V, f. 6r
Perhaps the lenses described by these authors were more akin to modern magnifying glasses rather than spectacles. A 15th-century French translation of Vincent of Beauvais’s Le Miroir Historial contains a possible depiction of such a lens. This manuscript detail depicts Vincent of Beauvais, sitting at a desk and writing his book. It is possible that the glass object in the background was intended to be a kind of lens that may have been used as a reading aid. Of course, it is also possible that this shows a mirror, in reference to the title of the text, rather than a magnifying lens.
Detail of a miniature of Vincent of Beauvais sitting at a desk and writing his book: Royal MS 14 E I, f. 3r
We might not know exactly when the spectacles were added to the Guthlac Roll, but the history of medieval spectacles is certainly looking a little clearer …
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Quotations taken from D.E. Eichholz, trans., Pliny: Natural History X (Cambridge, 1962), pp. 212–15, and A.C. Sparavigna, ‘Translation and discussion of the De Iride, a treatise on optics by Robert Grossetste’, International Journal of Sciences (2013), 2:9, pp. 108–13.
19 February 2019
Reconstructing the Otho-Corpus Gospels
As our stunning Anglo-Saxon Kingdoms exhibition comes to an end, it's time to reflect on recent discoveries that illuminate this fascinating period of early medieval history, and on the new opportunities for learning more about the past. Archaeological discoveries, such as the Staffordshire Hoard, help us to make a direct connection with 7th-century Mercia, even if we cannot be certain to whom these objects belonged or why they were buried. New advances in imaging science, such as that revealing erased manumissions of slaves in the Bodmin Gospels, as reported on this Blog, help us to uncover medieval people whose lives would otherwise be unknown to us.
The lion of St Mark in the Otho-Corpus Gospels: British Library, Cotton MS Otho C V, f. 27r
One manuscript that has probably not given up all its secrets is the so-called Otho-Corpus Gospels. That name is modern in origin, being derived from the two collections in which its twin halves now reside: the Otho press in the Cotton collection at the British Library, and the Parker Library at Corpus Christi College in Cambridge. The two parts of this 8th-century Northumbrian gospel-book had been divided by the 16th century at the latest, with one coming into the hands of Matthew Parker, archbishop of Canterbury (died 1575), and the other being acquired a few decades later by Sir Robert Cotton (died 1631). The easiest way to compare them would be to bring them physically side-by-side, as demonstrated in our Anglo-Saxon Kingdoms exhibition, when the Corpus portion was generously loaned for a short period to the British Library. But the usual separation of the manuscript is only one barrier to properly understanding it, since the Otho part was damaged severely by the Cotton fire in October 1731, leaving its parchment pages shrivelled and charred. Not only is the gospel-book no longer together, but it is no longer intact.
The first surviving page of the Otho portion: Cotton MS Otho C V, f. 1r
As part of the preparations for Anglo-Saxon Kingdoms, Cotton MS Otho C V was digitised in full, thanks to funding provided by The Polonsky Foundation. This complements nicely the digitisation of Corpus Christi MS 197B by our colleagues in Cambridge. Users are now able to study both parts of this gospel-book from the comfort of their own offices or living rooms. But one further feature of this dual digitisation should be mentioned here, and it is that which perhaps offers the greatest potential for furthering our knowledge of this manuscript. The British Library manuscripts digitised for our recent project can now be viewed on a IIIF viewer, and the same is true for those at the Parker Library. This means that researchers can view the images of both portions of the gospel-book side-by-side, hopefully enabling us to make more connections between them.
Even though the Otho portion is badly damaged, we can still tell that it was finely written and decorated: Cotton MS Otho C V, f. 21r
Why is this important? In the case of the Otho part of the manuscript, we have only 64 leaves remaining, representing the gospels of Matthew and Mark. In the 19th century, its pages were restored at the British Museum and inlaid in paper mounts, with pencil notes added in the margins to notify where the text had been identified. In the case of the Corpus Christi part, containing the gospels of Luke and John, the pages have been rearranged, as was Matthew Parker's frequent practice, which complicates investigation into them. Maybe in time their original organisation will be reconstructed, throwing new light on the manuscript's place of origin and its later use and ownership.
The preface to the Gospel of Mark: Cotton MS Otho C V, f. 25v
Thanks to The Polonsky Foundation, Cotton MS Otho C V can be seen on the Universal Viewer or on our Digitised Manuscripts site. Thanks to Corpus Christi College, Cambridge, their MS 197B can be seen on Parker on the Web, and you can read about it in this accompanying blogpost. We are delighted to be able to share this wonderful manuscript with you, and we hope that in time we will learn more of its secrets.
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17 February 2019
When love comes knockin’ at your door
To the joy and relief of some, the magic of Valentine’s Day has now vanished, taking heart-shaped chocolates and romantic cards with it. A different perspective of love is offered by a motif popular in the Classical world: the so-called paraclausithyron.
This term, used by Plutarch (Moralia 753B), refers to a song of lament and despair sung by an ‘excluded lover’ (amator exclusus) at the firmly shut door of their beloved. The lover usually carries a garland and has walked at night by torchlight to reach their beloved’s house, where they plead to be admitted without success.
In Greek literature, the motif occurs in different genres. An illustrious example is found in Theocritus’ Idyll 3, where the lover, a goatherd, begs his mistress Amaryllis to let him come into her cave. He laments in despair:
Just look: there’s such pain in my heart. If only I could turn into a buzzing bee and come into your cave through the ivy and fern that hide you! Now I know what love is: he’s a cruel god. Truly he was suckled by a lioness, and his mother gave birth to him in a thicket: he’s making me smoulder with love and torturing me deep in my bone. (translated by N. Hopkinson)
The beginning of Theocritus, Idyll 3 (15th century): Add MS 11885, f. 12r
A number of surviving epigrams relate to the scene of the closed door. This one, by the poet Asclepiades of Samos from the 3rd century BC, emphasises the lover's sorrow at not being admitted into the house:
Abide here, my garlands, where I hang ye by this door, nor shake off your leaves in haste, for I have watered you with my tears — rainy are the eyes of lovers. But when the door opens and ye see him, shed my rain on his head, that at least his fair hair may drink my tears. (translated by W. R. Paton)
Another poem by Meleager of Gadara, written roughly 2,100 years ago, contains several elements typical of the motif:
O stars, and Moon, lighting well the way for those disposed to love, and Night, and you, my instrument that accompanies my revels — will I gaze upon my wanton one, still awake on her bed, singed often by her lamp? Or does someone share her bed? I will take off my suppliant garland, douse it with tears, and fix it on her porch, inscribing on it just this: “Cypris, to you Meleager, the initiate in your revels, hung up these spoils of love. (translated by Paton)
Detail of a heart (15th century): King's MS 322, f. 1r
It is not only male lovers who might be excluded. The ‘Alexandrian Erotic Fragment’ (Papyrus 605 verso) relates the lament of an ‘excluded woman’. The motif of the ‘abandoned woman’ is well-known in Classical mythology: one thinks immediately of poor Ariadne, deserted by Theseus, or Medea who, left by Jason for another woman, killed her own children to punish him.
Medea killing her children (c. 1450–1460): Harley MS 1766, f. 33r
The text of this papyrus was copied by Dryton, a cavalry-man, after 10 October 174 BC. His family archive is now dispersed across the world. A small fragment in the Sackler Library, Oxford, supplies a few more words of the second column of the British Library papyrus.
The poem has a complex metrical scheme, although its language is simple. It starts abruptly, with the woman remembering the old promise of love, having Aphrodite as a security (all translations by P. Bing):
Our feelings were mutual, we bound ourselves together. (ll. 1–2)
The tender memories of the past torture her, because her lover has proven to be an ‘inventor of confusion’ (l. 7). An invocation to the stars and night begins her journey to the house:
O beloved starts and lady Night, companions in my desire, take me even now to him. (ll. 11–12)
The trip is lightened not by a torch, but by the fire that enkindles her soul:
My guide is the potent torch that’s ablaze in my soul. (ll. 15–16)
The woman pleads to be admitted in a vortex of feelings, being mad, jealous and ready to submit to her beloved. After all, ‘if you devote yourself to just one, you will just go crazy’ (l. 31), she explains. She has a ‘stubborn temper’ when she gets in a fight (ll. 33–34), yet she now seeks reconciliation. Unfortunately, the second column of the papyrus is fragmentary.
The ‘Alexandrian Erotic Fragment’: Papyrus 605 verso
Ancient authors had different views on these lovers’ practices. Plato considered that imploring one's beloved and sleeping on doorsteps was a form of slavery (Symposium 183A), whereas Plutarch thought that serenading and decorating the beloved’s threshold with garlands might bring some ‘alleviation that is not without charm or grace’ (De cohibenda ira 455B–C).
We should add a word of warning. Should you plan to serenade your lover, make sure that the right person is listening. In Aristophanes’ Ecclesiazusae, two young lovers exchange love songs. One of them invokes his beloved to open the door, but the person who opens it is not exactly whom the young man was hoping for …
Federica Micucci
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12 February 2019
Picture this: portraits of Anglo-Saxon rulers
Only five contemporary manuscript portraits of identifiable Anglo-Saxon rulers survive. Recent visitors to the British Library or to this Blog are probably already familiar with one of them. This is the illuminated miniature featuring King Edgar (959–975) which forms the frontispiece of the New Minster Charter (Cotton MS Vespasian A VIII), confirming the rights of the reformed church at Winchester. It is the 'frontispiece' of our sold-out exhibition Anglo-Saxon Kingdoms: Art, Word, War, adorning the posters as well as the entrance to the Library.
In this blogpost, we look at some of these Anglo-Saxon ruler portraits, alongside contemporary European examples.
King Edgar with the Virgin Mary, St Peter, Christ in Majesty and angels (New Minster, Winchester, c. 966): Cotton MS Vespasian A VIII, f. 2v
In the New Minster Charter, made in around 966, King Edgar, facing towards the heavens, presents a golden copy of the document to Christ. The Virgin Mary and St Peter look on approvingly. The fact that he is surrounded by saints and handing the charter straight to Christ reminds the viewer of his status as a pious, Christian king, ruling with divine blessing. These themes were all central to the idealised representations of the royal office in the early medieval Christian West.
Depicting the king holding a politically important document, in the shape of a book, is more remarkable in the context of early medieval ruler portraits. This emphasised Edgar as a learned king, to whom the written word was significant, but also visually confirmed his politically motivated patronage of the New Minster. It exemplified the key motifs of the specifically Anglo-Saxon image of kingship and queenship, in which the ruler was shown to be actively involved with learning, patronage of the Church, and the production or use of texts and books. These motifs set the Anglo-Saxon ruler portraits apart from those of their early medieval contemporaries.
The Continental approach to portraying rulers makes this contrast clear. Throughout their mutual history the Anglo-Saxons and their neighbours across the Channel, the Carolingians, were in close contact. The most famous and influential ruler of the Carolingian dynasty (c. 714–877), whose empire covered most of western Continental Europe, was Charlemagne (768–814).
Emperor Lothar I enthroned (the court of the Emperor Lothar, ?Aachen, c. 840–855): Add MS 37768, f. 4r
No contemporary illustrations of Charlemagne have survived, but there is a striking depiction of his oldest legitimate grandson, Lothar I (817–855), in the manuscript known as the Lothar Psalter (Add MS 37768).
Roman imperial portraits were the main source for early medieval ruler portraits. This link became even more important to the Carolingians when Charlemagne was crowned Holy Roman Emperor by the Pope in 800. The resulting emphasis on imperial majestic splendour and military authority is clearly seen in Lothar’s portrait. His golden and jewel-encrusted crown is matched by an extravagant cloak of gold, covered in gems. The entire backdrop is a deep purple — the colour associated specifically with emperors since Antiquity because of the exceedingly high value of the pigment. In his hands he holds a long sceptre, recalling the sceptrum Augusti (sceptre of imperial majesty) of the Roman emperors, and the hilt of a sword, drawing visual comparisons to the military status of the imperial role.
The Anglo-Saxon ruler portrait closest in time to that of Lothar is also the earliest surviving. In a manuscript containing Bede's Lives of St Cuthbert, King Æthelstan is depicted presenting the book itself to St Cuthbert (d. 687). Cuthbert was a monk and bishop of Lindisfarne, whose cult became increasingly popular across northern England. The image commemorates Æthelstan’s gift of the manuscript to St Cuthbert’s community, while also associating the king with the patronage of a politically significant religious centre, and the production of a book containing works by an eminent Anglo-Saxon author.
King Æthelstan presenting St Cuthbert with the book (South England, c. 934–939): Cambridge, Corpus Christi College, MS 183, f. 1v
Despite Æthelstan’s many diplomatic connections with Continental rulers (not least exemplified by his gifts of books), the Continental focus on the extravagant stateliness and military might of the monarch has not influenced this portrait. He humbly bows his head to the saint; only his crown betrays his grand status.
The surviving Anglo-Saxon ruler portraits also stand apart when it comes to the depiction of queens. Hardly any portraits of Carolingian queens survive, but during the Ottonian dynasty (c. 919–1024) double-ruler portraits of the queens alongside their husbands or sons became popular.
Christ in Majesty crowning Henry II and his wife Kunigunde, with St Peter on the left and St Paul on the right. Below is the female personification of Rome, with female personifications of Gallia and Germania on either side (Reichenau, c. 1007–1012): Munich, Bayerisches Staatsbibliothek, Clm 4452, f. 2r
For instance, the Evangelistary of Henry II (Munich, Bayerisches Staatsbibliothek, Clm 4452) contains an extravagant image of the future coronation of the Holy Roman Emperor, Henry II (1014–1024), and his wife, Empress Kunigunde of Luxembourg (d. 1040). Christ crowns both Henry and Kunigunde, while St Peter supports Henry on the left, and St Paul supports Kunigunde on the right. Kunigunde is depicted as equal in size to her husband, but it is Henry who stands on the right of Christ, symbolically the place of honour.
In the lower register stands the female personification of Rome, holding a sceptre. Beside her are female personifications of the territories of Gallia and Germania (the primary territories of the king and queen, respectively). Undoubtedly, this represents the joining together of Henry and Kunigunde’s territories into one Holy Roman Empire, underlining the political importance of their union.
Queen Emma, one of the most important political figures in 11th-century England, is depicted in two of the five surviving Anglo-Saxon portraits. In one, the New Minster Liber Vitae, she is depicted next to her second husband, King Cnut, in a manner similar to the double-coronation portrait of Henry and Kunigunde. But in a slightly later manuscript (Add MS 33241) there is a decidedly different portrait of her.
Queen Emma enthroned, with two of her sons in the background, receiving the Encomium Emmae reginae (northern France or England, mid-11th century): Add MS 33241, f. 1v
Emma alone is enthroned and centrally placed in this image, whereas her two sons (both of whom became king) peer slightly awkwardly from behind a pillar. Moreover, she is shown receiving a copy of the manuscript, which contains the Encomium Emmae reginae ('In Praise of Queen Emma'). This is a highly political work, commissioned to portray Emma's past actions in a more favourable light, while smoothing over the current, turbulent political situation. It is entirely appropriate for her to be portrayed as the central character and as a queen in her own right and with her own independent agency.
You can read more about some of the manuscripts featured in this blogpost on the British Library's Anglo-Saxons webspace. Due to incredible demand, all tickets to the Anglo-Saxon Kingdoms exhibition have now been sold.
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09 February 2019
Easy as ABC?
Do you know your ABC? How about your ᚠ ᚢ ᚦ ᚱ ᚳ ? Or your ᚁ ᚂ ᚃ ?
The inhabitants of the British Isles in the first millennium spoke many different languages and wrote in several alphabets. Variant writing systems identified from early Anglo-Saxon England — some of which can be viewed in our stellar Anglo-Saxon Kingdoms exhibition — include runes, ogham and Greek, and even attempts at replicating Hebrew and Arabic letters.
The back of the Harford Farm Brooch includes a runic inscription which says ‘Luda repaired [or makes reparations by] this brooch’ (England, c. 610–650): Norwich Castle Museum 1994.5.78
Runes were used to represent the earliest Germanic languages, including early forms of Old English and the Scandinavian languages. The earliest surviving examples of these angular letters were incised into metal, stone, wood or ceramics. We know that each of these runes had a name, taken from a noun that started with that rune: for example, (n) was called nyd (need), while (th) was called thorn (thorn), perhaps because the symbol itself looks slightly like a branch with thorn. In the 10th century, someone added the names to a runic alphabet on the back of a copy of the Old English version of Bede’s Ecclesiastical History of the English People.
Runes copied in the 10th century, with their names added in the 11th century: Cotton MS Domitian A IX, f. 11v
Even though the Latin alphabet was eventually adapted to write English, runes did not cease to be used in Anglo-Saxon England. Several objects from the 7th to the 11th centuries feature runic inscriptions. Some surviving blades and scabbards feature the names of their early owners in runes or cryptic, talismanic inscriptions.
The Ruthwell Cross features the ‘Dream of the Rood’ poem inscribed in runes around its sides. Even when writing in Latin letters, the Anglo-Saxons used runes to represent sounds in their language which were not present in the Roman alphabet, such as æ, th (represented by þ or the adapted Latin letters Ð, ð), and w (Ƿ). Some of these letters are still used in Icelandic and Faroese spelling to this day.
A scribe from 10th-century England practised his alphabet in the margins of this 9th-century copy of Alcuin’s letters: Harley MS 208, f. 117v
Another non-Latin alphabet known in England in the first millennium was ogham. This writing system is formed of lines carved at different angles around a central line. Examples of ogham inscriptions have been found in Ireland, Scotland, Wales, Cornwall and beyond. On display in the Anglo-Saxon Kingdoms exhibition is a knife inscribed with ogham that was found in South-West Norfolk.
A knife with an ogham inscription, from Norwich Castle Museum
Ogham script was certainly known to Byrhtferth of Ramsey in the late 10th or early 11th century, and by the scribes who copied his work in the 12th century. Ogham occurs in a 12th-century copy of his diagram (in Oxford, St John’s College, MS 17), although not in the version in Harley MS 3667. Perhaps the scribe of the Harley manuscript omitted the symbols because he did not understand them.
Alphabets from other parts of the world were known to certain Anglo-Saxons. Greek letters appear in some early medieval English manuscripts. Knowledge of Greek in Anglo-Saxon England may be associated with the school run by Archbishop Theodore and Abbot Hadrian in Canterbury in the late 7th and early 8th century. Theodore was from the Greek-speaking part of the Mediterranean and became archbishop of Canterbury in 668. Bede used the Greek alphabet in mathematical calculations and recommended it for creating codes. Some early medieval scribes also tried to imitate Hebrew letters, with somewhat less success.
Greek letters, in red, spelling the Latin phrase ‘Deo Gratias’: Harley MS 5431, f. 106v
One incredible survival featured in Anglo-Saxon Kingdoms is a coin of King Offa (d. 796) that imitates the Arabic script on a dinar of Abbasid caliph al-Mansur (AH 136–58/ AD 754–75). The Mercian moneyer who made the coin did not copy the letters correctly and clearly could not read Arabic.
Gold dinar of Offa of Mercia: British Museum, CM 1913,1213.1
You can see many of these alphabets for yourself in the British Library's Anglo-Saxon Kingdoms exhibition, which is open until 19 February. We recommend that you check availability before you travel as many time-slots are already full.
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08 February 2019
Anglo-Saxon Kingdoms and the BnF
One of the many wonderful things about our Anglo-Saxon Kingdoms exhibition is that roughly half of the manuscripts and objects on display are on loan from other institutions. Six fascinating manuscripts in the show have kindly been loaned by the Bibliothèque nationale de France. This varied group includes a 7th-century calendar, an unusually shaped psalter, and a pontifical that features musical notation …
The Echternach Gospels: Paris, Bibliothèque nationale de France, MS lat. 9389, f. 76r
One of these six manuscripts is a beautifully decorated insular gospel book, known as the Echternach Gospels. We know that this gospel book was in Echternach, modern-day Luxembourg, by the first half of the 8th century, but scholars have debated whether the manuscript was produced in Echternach, in Ireland or in Northumbria. Some people have compared its script to the Durham Gospels, which are thought to have been produced in Northumbria. On the other hand, some think the Echternach Gospels were produced in Ireland because the text is close to the 9th-century MacDurnan Gospels from Armagh. The founder of Echternach, a Northumbrian monk Willibrord, is known to have had connections to Ireland. His mission set out from Rath Melsigi, Co. Carlow, in the 690s, and Irish books and scribes likely played an important role in the early development of Echternach.
The Calendar of Willibrord: Paris, Bibliothèque nationale de France, MS lat. 10837, f. 39v
The founder of Echternach, Willibrord, was one of many Anglo-Saxon missionaries who travelled to the Continent to convert the pagans to Christianity. Manuscripts would have travelled to the Continent along with these missionaries. A manuscript that reflects this movement is the Calendar of Willibrord, also on loan from the Bibliothèque nationale de France. Entries in this calendar reflect Willibrord’s Northumbrian origins and Irish training, as well as additions made during his time on the Continent. This page, for the month of November, has notes in the margin referring to Willibrord’s life, including his journey in 690 ‘across the sea to Francia’.
A collection of saints' Lives: Paris, Bibliothèque nationale de France, MS lat. 10861, f. 2r
Another manuscript on loan from the Bibliothèque nationale de France is a 9th-century collection of saints' Lives, which contains accounts of the lives of two saints and narrative descriptions of the lives of sixteen early Christian martyrs. The enlarged, decorated ‘P’ on this folio begins Philippus apostolus, which introduces the account of the life of the Apostle Philip. Although the script of this manuscript suggests that it was copied in Canterbury, the parchment appears to have been prepared and arranged in a Continental style. This testifies to the close connections between Canterbury and Continental scriptoria in the early 9th century.
The Paris Psalter: Paris, Bibliothèque nationale de France, MS lat. 8824, ff. 3v–4r
The Bibliothèque nationale de France has also loaned the Paris Psalter to Anglo-Saxon Kingdoms. The psalms had a central role in liturgy and personal devotion, and were widely known and studied in Anglo-Saxon England. However, the Paris Psalter is unusually tall and thin compared to other, contemporary psalters.
Boethius, De Consolatione Philosophiae: Paris, Bibliothèque nationale de France, MS lat. 6401, f. 13v
Also on loan is a copy of works by Boethius that illustrates the close links between England the monastery of Fleury (near Orléans, France). The style of script suggests that work began on the manuscript in England in the late 10th century, but the manuscript had reached Fleury by the early 11th century. One text in this manuscript is Boethius’ Consolation of Philosophy. The full-page painting above is of French workmanship, and shows the seated female figure of Philosophy, holding a snake, surrounded by birds and armed soldiers. The style of armour of these soldiers bears strong similarities to that of the Bayeux Tapestry.
The Sherborne Pontifical: Paris, Bibliothèque nationale de France, MS lat. 943, f. 10r
Another manuscript loaned by the Bibliothèque nationale de France provides an important insight into the performance of music in Anglo-Saxon England. This manuscript was likely made at Canterbury, but had come to Sherborne by the 990s and is now known as the Sherborne Pontifical. A bishop would read from a pontifical during ceremonies such as the consecration of kings, bishops, churches or relics. Instructions regarding the movement for the ceremony are written in larger black letters, whereas the chants are written in smaller black text, with musical notation added above.
We are delighted to have been able to partner with the Bibliothèque nationale de France in The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700–1200. In turn, we are extremely grateful to the Bibliothèque nationale de France for lending these fascinating manuscripts to our Anglo-Saxon Kingdoms exhibition, where they will be on display until 19 February 2019. Tickets to the exhibition are selling fast, buy them here.
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