Medieval manuscripts blog

908 posts categorized "Illuminated manuscripts"

29 July 2018

Pilgrimages: medieval summer holidays?

In Chaucer’s famous opening line to the Canterbury Tales, ‘Aprille with his shoures soote’ (April with its sweet showers) was the time when people longed to set off on their travels. Of course, holidays as we know them were not enjoyed by medieval folk. The word itself comes from ‘Holy Days’ in the Church calendar, when a break from daily routine usually involved praying and fasting, not sunbathing and drinking cocktails on the beach. But people have always enjoyed visiting new places, and so pilgrimages were a popular way of taking a break at the same time as showing piety and atoning for one’s sins — a great all-inclusive package!  

One medieval pilgrim was St Roch, who tended plague victims. He is usually pictured in typical pilgrim’s garb, with the staff, scrip or bag and shell (the symbol of Santiago and all pilgrims) on his hat. When he caught the plague himself, he was healed by a hunting dog who licked his wounds and brought him bread.

A page from the Prayer-book of Joanna of Ghistelles, showing a portrait of St Roch.

Miniature of Roch, showing a plague-spot on his thigh, with an angel and a dog holding a loaf, from the Prayer-book of Joanna of Ghistelles, Ghent, c. 1516: Egerton MS 2125, f. 209v

Instead of backpacking in Thailand, booking a package holiday to the Costa Brava or braving the traffic jams to the English seaside, medieval pilgrims headed for Palestine, northern Spain or Kent. Some of the leading destinations for English pilgrims were Jerusalem, Santiago de Compostela and Canterbury.

Pilgrimage to the Holy Land

The holy places in Palestine were the ultimate destination for medieval Christian pilgrims, although the journey could be arduous. Margery Kempe, the famous English mystic, travelled from Norfolk to Jerusalem and Rome in 1413–15, as recounted in her autobiography. Even kings could be pilgrims, including Louis IX of France: when on crusade to the Holy Land in 1251, he went on a pilgrimage from Acre to Nazareth on the Feast of the Annunciation.

Travellers to distant places needed maps. This plan of Jerusalem is found in a book of maps and sea charts, produced in Venice. It shows the holy sites including David's Tower, the Holy Sepulchre, Calvary, Pilate's house, St Anne's house and the Temple of Solomon.

A 14th-century plan of the city of Jerusalem.

Plan of Jerusalem in Pietro Vesconte’s book of charts, maps and plans, Venice, c. 1331: Add MS 27376*

Pilgrimage to Santiago de Compostela

This city in northern Spain is believed to be the resting place of St James, one of the twelve apostles. According to legend, James went to Spain to spread the Gospel before returning to Jerusalem, where he was beheaded. His friends placed his head and body in a boat, which miraculously carried them to the Galician coast. After suffering trials and persecutions at the hands of local pagans, they finally buried his remains on a hill (now the site of the famous cathedral of Santiago), where they lay forgotten for many centuries. The cult of St James was revived in the 7th and 8th centuries when Christianity in Spain was under threat from Muslim expansion. St James allegedly appeared in a dream to Charlemagne, urging him to liberate his tomb from the Moors and showing him the direction to follow by the Milky Way: the name Compostela is believed to derive from the Latin campus stellae (field of stars).

A detail from a 14th-century manuscript of the Chroniques de France, showing an illustration of Emperor Charlemagne pointing the way to Spain.

Charlemagne pointing the way to Spain, from the Chroniques de France, Paris, 1st half of the 14th century: Royal MS 16 G VI, f. 166r

The first known pilgrim to Santiago de Compostela was Gotescalc, bishop of Puy in France, who visited the shrine in 950. The Empress Matilda, granddaughter of William the Conqueror, went on pilgrimage there in 1097. By the 12th century, half a million pilgrims were travelling from as far as Scandinavia, England and southern Italy, and hospitals, hostels, roads and bridges had been built to accommodate them. A pilgrims’ guide, the Liber Sancti Iacobi, was produced, listing the towns along the way, providing useful phrases in Basque to use when travelling through that region, and warning pilgrims against certain local foods and customs.

A page from a 14th-century pilgrim's guide to Compostela, showing an illustration of St James.

St James, in the Liber Sancti Jacobi, Santiago?, 1st half of the 14th century: Add MS 12213, f. 3v 

The Camino de Santiago is now a very popular pilgrimage route, with many walking from St Jean Pied de Port in the Pyrenées, a journey of six weeks. Getting there and back is much easier than in the Middle Ages, when most people walked or rode on horseback. The ‘Camino Ingles’ (English Way) has starting points at the ports of La Coruña and Ferrol, where medieval pilgrims arrived by boat from Britain.

Pilgrimage to Canterbury

Pilgrims came from all corners of Europe to worship at Canterbury Cathedral, where Archbishop Thomas Becket was murdered by four knights on the evening of 29 December 1170. In this compilation of Becket’s letters, accompanied by John of Salisbury's account of his life and death, is an image showing the martyrdom in four narrative scenes. The upper two depict Becket at table, being told of the knights' arrival. The lower sections show Becket’s martyrdom in the church and the later veneration of his shrine by four kneeling figures.

A detail from a 12th-century manuscript, showing the earliest illustration of the martyrdom of St Thomas Becket.

The martyrdom of Thomas Becket, England, 4th quarter of the 12th century: Cotton MS Claudius B II, f. 341r

Chaucer’s pilgrims travelled from Southwark in London to Becket’s shrine at Canterbury. The routes from London and Winchester remain popular with modern pilgrims, passing through the Sussex and Kent countryside.

A detail from a manuscript of John Lydgate's Siege of Thebes, showing an illustration of pilgrims on the road to Canterbury.

Pilgrims on the road to Canterbury, from John Lydgate’s Prologue of the Siege of Thebes, London, c. 1457–1460: Royal MS 18 D II, f. 148r

‘Couch’ pilgrimages

Many people like to watch travel programmes on television, seeing places we may never visit. Some people were unable to go on pilgrimage, but they could make a spiritual journey using guides or maps. Numerous medieval versions of the allegorical pilgrimage were written for this purpose, where the pilgrim had to overcome various obstacles to reach the final goal of spiritual fulfilment. In this French text, the pilgrim is guided by the lady Grace-Dieu.

A detail from a medieval manuscript, showing an illustration of a pilgrim being given his bag by the lady Grace-Dieu.

The pilgrim is given his bag by Grace-Dieu, from Guillaume Deguilleville, Les Trois Pèlerinages, France, c. 1400: Add MS 38120, f. 28r

Matthew Paris’s famous itinerary of the route to Jerusalem is considered to be a guide for a spiritual rather than a real journey from London to the Holy Land, as he does not provide distances or practical details. As far as we know, Matthew never made the journey himself, instead learning of the route from travellers who passed through St Albans Abbey in the 13th century. The first part of his plan shows the journey from London in the lower left-hand column to Dover and then, in the right-hand column, from Boulogne-sur-Mer on the French coast to Beauvais. Each place is one day’s journey from the preceding one.

A section from an illustrated itinerary from London to the Holy Land, showing the road from London to Beauvais.

Section of an illustrated itinerary to Jerusalem, from London to Beauvais, St Albans, 1250s: Royal MS 14 C VII, f. 2r

Animal pilgrims

In the medieval world, animals also went on pilgrimage. Here is an example from the Smithfield Decretals.

A detail from the Smithfield Decretals, showing a marginal illustration of a rabbit shooting a dog dressed as a pilgrim.

A rabbit shooting at a dog who is dressed as a pilgrim, from the glossed Decretals of Gregory IX  (the 'Smithfield Decretals'), Toulouse?, late 13th or early 14th century: Royal MS 10 E IV, f. 57v

In this collection of animal tales in German, a fox, having grown old and setting off on a pilgrimage, refuses the companionship of the watch-dog, wild ass, bear, lion, peacock, wolf, pig and mule. Instead, he chooses to travel with the panther, ape, lamb, hare, hedgehog, ox, the young hound and the ant (let’s hope someone offers the ant a ride!).

A detail from a 15th-century manuscript, showing an illustration of a fox choosing companions for a pilgrimage from a group of animals.

A fox choosing its companions for a pilgrimage, from Ulrich von Pottenstein, Spiegel der Weisheit, Salzburg, c. 1430: Egerton MS 1121, f. 36r

                                                                                                                                                                                                                                    Chantry Westwell

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26 July 2018

The Arnstein Bible: a grand monastic Bible

In addition to their size and legibility, Romanesque giant Bibles sometimes indicate that they are great monastic books, by including all three of St Jerome’s translations of the Psalms in parallel columns. In the Arnstein Bible, for example, the Gallicanum of the Vulgate appears first, but is accompanied by the Romanum and the Hebraicum, the last a translation made directly from the Hebrew that was never used liturgically. Moreover, each of these three versions is illustrated. This virtuoso display of learning is found in Giant Bibles made in the Mosan and Rhenish regions in particular, although two English examples also survive. These features constitute important material evidence of the status and wealth of the monasteries that commissioned and produced these Bibles: as C. M. Kauffmann stated, they are ‘symbols of monastic corporate authority’ (Biblical Imagery in Medieval England 700-1550 (London, 2003), p. 149).

A decorated page from the Arnstein Bible, showing the beginning of the Book of Psalms.

The beginning of the Psalms in the Arnstein Bible: Harley MS 2799, f. 5r.

A splendid example of this occurs in the Arnstein Bible, now on display in the British Library’s Sir John Ritblat Treasures Gallery. The Psalms occur in the second volume, and are set out in three parallel columns of text, beginning with a large initial ‘B’(eatus) (blessed) created by elaborated foliate forms, clasps, and to the right, intertwined dogs or other quadrupeds. 

In the initials for the beginning of Psalm 101, ‘D’(omine) features different figures in the bowl of the letter: Christ blessing, the Virgin and Child, and a bishop.

A detail from the Arnstein Bible, showing illustrations of Christ blessing, the Virgin and Child, and a bishop.

Christ blessing, the Virgin and Child, and a bishop, at the beginning of Psalm 101: Harley 2799, f. 40r (detail).

The Arnstein Bible was produced at the Premonstratensian abbey of St Mary and St Nicholas, Arnstein, in Germany. This abbey was founded in 1139 by Ludwig III (d. 1185), the last count of Arnstein, who became a lay brother and donated his castle to the new Order, established at Prémontré in northern France in 1120. Ludwig’s wife, Guda, became a hermit living in the abbey grounds. Originally, annals recording important events relating to the abbey were part of the Bible (now preserved in Darmstadt, Hessische Landesbibliothek, MS 4128). The entry for 1172 states that the book (liber iste) was written in that year by a brother called Lunandus, and asks that whoever reads it should pray that he rest in peace: ‘Qui ergo legit, dicat: Anima eius requiescat in pace’

The manuscript is also available in full on the British Library’s Digitised Manuscripts website: volume 1 (Harley MS 2798) and volume 2 (Harley MS 2799).

 

Kathleen Doyle

Follow us on Twitter @BLMedieval

 

21 July 2018

Medieval Love Island

British television has been swept off its feet this summer by a certain reality contest in which a group of singletons compete to find romance on an exotic island. Love it or loathe it, society has always been infatuated with dating and finding true love, especially during the Middle Ages. This is shown in many medieval romance tales and guides to love.

A detail from the Luttrell Psalter, showing an illustration of the Castle of Love.

The Castle of Love under the siege of romantic knights as maidens defend themselves with flowers, from the Luttrell Psalter, Add MS 42130, f. 75v

In place of the modern island, the medieval castle was used in art and literature to set the scene for love. The ‘Castle of Love’ popularly appeared in literature as a figurative representation of the Virgin Mary, such as in Robert Grosseteste’s religious poem in Anglo-Norman French, Le Chasteau d’Amour. The castle of this poem is a spiritual tower of strength and its architecture symbolises Mary's characteristics, with the turrets representing her virtues and the baileys her chastity, maidenhood and marriage.

The Castle of Love soon became a secular and more light-hearted image, as depicted in the 14th-century Luttrell Psalter (Add MS 42130). Knights can be seen clamouring with weapons to reach the maidens inside a model castle, who are defending themselves playfully with flowers. The illustration is placed in the margin of a passage from Psalm 37, with King David stating his enemies ‘that render evil for good, have detracted me, because I follow goodness. Forsake me not, O my Lord’ (Ps 37:20–21). The maidens most likely symbolise virtue and the knights the temptations of vice.

A detail from a late 15th-century illuminated manuscript, showing an illustration of a man addressing three women at the gate of the Castle of Love.

How you doing? A young man addresses three women at the gate of the Castle of Love, from Royal MS 16 F II, f. 188r

The Castle of Love again features in a late 15th-century illuminated manuscript (Royal MS 16 F II) containing a guide to love, Les demands en amours. Opening with the chastel d’amours, the text contains a list of 18 questions in verse and 87 in prose on how to find a suitable lover. Similar to relationship columns today, the text advises the reader to declare his love wisely, to live joyously, dress well, be pleasant socially and to sustain his love through the exercise of ‘courtoysie’.

A detail from a late 15th-century manuscript, containing a guide to love, Les demands en amour.

Love may be sustained through the exercise of ‘courtoysie’ (line 21), from Royal MS 16 F II, f. 188v

This manuscript was made for an aristocratic reader. It may have been first intended for King Edward IV of England but was left unfinished after his death in 1483; it may then have been completed by 1500 for King Henry VII and his family.

A detail from a manuscript of The Roman de la Rose, showing an illustration of the Castle of Jealousy.

The Castle of Jealousy where Fair Welcome is Imprisoned, from Harley MS 4425, f. 39r

Medieval writers were also aware of the darker side of courting. The Castle of Jealousy appears in a late 15th-century Flemish copy of Guillaume de Lorris and Jean de Meun’s Roman de la Rose, a popular tale in which a lover dreams of a rose held captive in a castle, shown above. Here the lover waits outside the outermost wall of the castle, unable to get past Danger (Dangier) holding the keys to the gate and the many soldiers who guard the tower of Jealousy (Jalousie) to reach the beautiful rose represented by a woman. The course of true love never did run smooth!

A detail from the Maastricht Hours, showing a marginal illustration of the king of love in a tree, while a couple sit together below.

The king of love sits in a tree with two musicians, aiming his arrows at a couple sitting below, from the Maastricht Hours, Stowe MS 17, f. 273r

 

Alison Ray

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19 July 2018

Leeds in July: The Polonsky Foundation Pre-1200 Project

For the past twenty-five years, thousands of medievalists from around the world have travelled every July to the Leeds International Medieval Congress. This is the United Kingdom’s largest academic conference and one of the largest global gatherings of medievalists. With nearly 3,000 participants this year, the IMC provided the perfect opportunity for The Polonsky Foundation England and France Project team to showcase their work ahead of its official launch in November.

On the morning of 3 July, the project’s cataloguers, Laura Albiero and Francesco Siri from the Bibliothèque nationale de France, and Cristian Ispir from the British Library, presented research on manuscripts in the project, highlighting aspects which have benefitted particularly from the availability of digital images. Thanks to The Polonsky Foundation, everyone will soon be able to access 800 medieval manuscripts online.

Laura’s paper gave examples of the project’s liturgical manuscripts, and discussed how the names of different saints in the calendars help us to trace the origin and movement of individual manuscripts across the Channel. Erasures and additions tell their own tale of changing ownership through analysis of the veneration of particular local saints.

Laura Albiero presenting on a 12th-century calendar from Tewkesbury.

Laura Albiero discussing a calendar originally from 12th-century Tewkesbury, now Paris, BnF, Latin 9376.

Cristian followed with an overview of author portraits and decorative elements in manuscripts containing Classical Latin texts. Francesco’s presentation focused on diagrams and their use in texts such as philosophical works, and defined the different functions they perform.

Cristian Ispir presenting on a selection of the project manuscripts.

Francesco Siri presenting on the visual content in some of the project manuscripts

Cristian Ispir and Francesco Siri presenting on the visual content in some of the project manuscripts.

The second session presented by the team gave an overview of the project itself. Tuija Ainonen, The Polonsky Foundation Project Curator at the British Library, drew attention to The Polonsky Foundation and the roles of the two project partners. She highlighted the various goals of the project: the full digitisation of 800 manuscripts (400 from the British Library and 400 from the BnF); the publication of a book highlighting selected manuscripts from the project; and the building of two websites — one hosting all 800 manuscripts, with 260,000 digitised images in total, and another bilingual interpretative site for a wide public audience which will present a selection of manuscripts in the project. Even interoperable image viewers, annotations, and the plan to allow image downloads had their few minutes in the spotlight: see this earlier blogpost for more details.

The project’s coordinators Tuija Ainonen and Francesco Siri.

The project’s coordinators Tuija Ainonen and Francesco Siri at the discussion and question time.

The audience then saw the different stages in the digitisation of 800 manuscripts and online publication in various forms. In this evening session Francesco Siri discussed the demands and challenges of cataloguing and conservation in digitisation projects. Alison Ray, Curatorial Web Officer at the British Library, discussed the workflow, from photography and image processing through to presentation in various online environments including social media and the bilingual interpretative website that will launch in November. She also reminded the audience that 600 project manuscripts are already fully digitised and available via Digitised Manuscripts for the British Library and Gallica for the BnF.

Alison Ray presenting on the project's interpretative website.

Alison Ray discussing the various digital environments for showcasing selected manuscripts.

As the project is ongoing, the IMC presentation was very much a sneak preview of things to come. Our readers will be able to see the full outcomes at our project conference in Paris in 21–23 November 2018. Attendance is free but registration is required.

You will also be able to see some of the project’s manuscripts in the Anglo-Saxon Kingdoms exhibition that opens at the British Library on 19 October. To hear more about Manuscripts in Anglo-Saxon Kingdoms, you can also attend a conference and early career symposium at the British Library on 13–15 December.

 

The Polonsky Pre-1200 Project Team

Follow us on Twitter @BLMedieval (#PolonskyPre1200)

 

Part of the Polonsky Digitisation Project

In collaboration with

The logo for the Bibliothèque nationale de France.

Supported by

The logo for The Polonsky Foundation

17 July 2018

Digitised Manuscripts hyperlinks July 2018

Hot on the heels of our recent announcement that the British Library's Anglo-Saxon charters are now online, we are pleased to provide you with another phenomenally fantastic list of digitised manuscripts hyperlinks. As usual, we are making this list available to download in two formats: as a PDF and as an Excel spreadsheet.

A quick glance reveals that no fewer than 2,336 of the Library's ancient, medieval and early modern manuscripts are now on Digitised Manuscripts, from Add Ch 19788 (a grant of King Wulfhere of the Mercians) to Yates Thomson MS 51 (Skazanie o Mamaevom Poboishche, 'The Tale of the Rout of Mamai', in Russian Church Slavonic). More are being added weekly to that number. It's always worth checking our Twitter feed, @BLMedieval, for the latest updates.

Here are just a few of the items on Digitised Manuscripts. We hope you enjoy trawling through the list to find your own highlights.

A detached leaf from a medieval manuscript, showing a portrait of St Dunstan as a bishop writing at his desk.

Miniature of St Dunstan as a bishop (Canterbury, 12th century): Royal MS 10 A XIII/1

A papyrus containing a memorandum for a trip to Constantinople, written in Ancient Greek.

Memorandum for a trip to Constantinople (Egypt, 5th–6th century): Papyrus 2237

A page from William Bruggys' Garter Book, showing a portrait of St George.

William Bruggys' Garter Book (England, 15th century): Stowe MS 594, f. 5v

A page from a 13th-century miscellany of Anglo-Norman poetry.

An Anglo-Norman verse miscellany (England or France, 13th century): Harley MS 4388, f. 2v


A page from the Caligula Troper, showing a portrait of St Stephen.

The Caligula Troper (England, 11th century): Cotton MS Caligula A XIV, f. 3v. You will be able to see more of our early medieval manuscripts in person in the Anglo-Saxon Kingdoms exhibition, opening at the Library on 19 October.

 

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11 July 2018

The Winchester Psalter: an illustrated bilingual Psalter

After the Norman Conquest, the principal language of the aristocracy in England was French, rather than English or Latin.  Perhaps not surprisingly, the Bible was translated into French at an early date. Given the importance of the Psalms in the medieval Church, several early French translations were made, including three or four versions of St Jerome’s Gallican or Gallicanum text, known as such because it was adopted in Gaul as the principal form of the Vulgate. St Jerome completed this translation between 386 and 391, basing it on Origen’s Greek text of the Psalms from the edition of the Old Testament in Hebrew and Greek, the Hexapla.

Twelve manuscripts of the 12th to 13th centuries are known of the so-called Oxford Psalter, based on the Gallicanum version, a translation compiled in England, and all have an English connection. The Winchester Psalter, with an extensive cycle of images, is the most splendid copy of these English manuscripts.

A text page from the Winchester Psalter.

A text page from the Winchester Psalter.

The Winchester Psalter: Cotton MS Nero C IV, ff. 49v–50r

In this Psalter, the Psalm text is laid out in parallel columns. The Latin is in the right column on the rectos, and in the left on the versos, so that the French text appears side by side when the book is open. This suggests that the book may have been intended for someone who was more comfortable in French than Latin, and that Latin may have served as a kind of reference or critical apparatus to aid the reader. 

The Winchester Psalter is now on display in the British Library’s Sir John Ritblat Treasures Gallery, open to the beginning of the Psalms. The manuscript is also available in full on the Library’s Digitised Manuscripts website. There is a large initial beginning each translation of the biblical text. It is the Latin initial ‘B’(eatus) (blessed) that is more elaborate, with an image of King David writing and playing a viol; while the ‘B’(eonuret) (blessed) on the left is elaborated with foliate decoration only.

A page from the Winchester Psalter, showing the opening of Psalm 1, marked by a large historiated initial.

Psalm 1 in the Winchester Psalter: Cotton MS Nero C IV, f. 46r

The French version of the text is interpretative rather than literal: for example, the ‘blessed man’ (beatus vir) of the first verse becomes a baron (Beonuret Barun) who does not take counsel with felons (des feluns). 

The Psalter is perhaps better known for its very extensive series of thirty-eight surviving prefatory drawings with coloured washes, including the dramatic and evocative vision of the end of time, with an angel locking the door of Hell. 

A page from the Winchester Psalter, showing an illustration of the Last Judgement, with an angel locking the door of Hell.

An angel locking the door of Hell: Cotton MS Nero C IV, f. 39r

The book also includes a Calendar, which provides evidence as to its origin. Saints of particular relevance to Winchester are included, among them Bishops Æthelwold (d. 984) and Brinstan (d. 934), and saints buried or with shrines there, such as Eadburh (d. c. 951), a Benedictine nun and daughter of Edward the Elder, and Grimbald (d. 901?), by tradition the co-founder of New Minster (later Hyde Abbey). The Calendar also includes two abbots of Cluny in Burgundy, Sts Hugh (d. 1109) and Mailous (d. 994).

The bishop of Winchester throughout the middle of the 12th century was King Stephen’s younger brother, Henry of Blois (r. 1139–71), who had been educated at Cluny. Henry was one of the richest men in Europe and a known art and relic collector.  When appointed to the see of Winchester, he refused to relinquish the profitable abbacy of Glastonbury, which he held concurrently with Winchester until his death. The Cluniac references, Cathedral-specific prayer and Henry’s great wealth make him a plausible patron for such a lavish book, even if its vernacular components and central focus on the Psalms in French suggests that he may have intended it as a gift for a layperson.

 

Further reading

Francis Wormald, The Winchester Psalter (London, 1973). 

Kristine Haney, The Winchester Psalter: An Iconographic Study (Leicester, 1986). 

Ruth J. Dean & Maureen B. M. Boulton, Anglo-Norman Literature: A Guide to Texts and Manuscripts, Anglo-Norman Text Society, Occasional Publication Series, 3 (London, 1999), nos. 445–456.

Geoff Rector, ‘An Illustrious Vernacular: The Psalter en romanz in Twelfth-Century England’, in Language and Culture in Medieval Britain: The French of England c. 1110–1500, ed. by Jocelyn Wogan-Browne (York, 2009), pp. 198–206.

Scot McKendrick & Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames & Hudson, 2016), no. 20.

 

Kathleen Doyle

Follow us on Twitter @BLMedieval

05 July 2018

Three lions

Football is an ancient sport. It is not clear when or where it was first played, but we do know that football was banned twice in England during the 14th century. On 13 April 1314, King Edward II forbade 'hustling over large balls' (‘rageries de grosses pelotes’) at the behest of some disgruntled London merchants (who clearly didn't realise the sport's potential for selling flags, alcohol and other merchandise). Then, in 1349, Edward III ordered that archery practice should supersede the playing of football ("Arrows coming home," anyone?). Later that century, the controversial churchman John Wyclif (d. 1384) cited in one of his sermons, suggesting it was a common sight: ‘Christian people have been kicked around, now by popes, now by bishops … as they would kick a football’ (‘Cristene men ben chullid, now wiþ popis, and now wiþ bishopis … as who shulde chulle a foot-balle’).

Medieval imagery continues to permeate ‘the beautiful game'. For example, the kit worn by the England team uses medieval symbolism, which is the subject of this blogpost.

A page from Sir Thomas Holme's Book of Arms, showing an illustration of Richard the Lionheart.

Image of Richard the Lionheart from Sir Thomas Holme's Book of Arms, made in England, c. 1445–1524, Harley MS 4205, f. 3v

The nickname of the England football team is the ‘Three Lions’. This refers to the team’s crest, which is in turn based on the royal arms of England. Originally, the kings’ coats of arms had a variable number of lions, usually one or two, in different poses. After Henry II married Eleanor of Acquitaine — whose coat of arms also involved a lion — three lions appeared on some English royal symbols. The three lions are particularly associated with Henry’s and Eleanor’s son, Richard the Lionheart. His Great Seal is the first seal of an English monarch in which the coat of arms, including the three lions, can clearly be seen.

The second Great Seal of Richard the Lionheart, showing the king in armour and on horseback.
Detail of Richard the Lionheart’s second Great Seal, 1198, Cotton Ch XVI 1

Richard the Lionheart’s association with the three lions was remembered decades after his death. When Matthew Paris abbreviated his accounts of the reigns of the English kings in the middle of the 13th century, he depicted Richard holding a shield with a three lions as his defining feature.

A detail from a manuscript of Matthew Paris' Abbreviated Chronicles of England, showing an illustration of Richard the Lionheart.

Image of Richard the Lionheart carrying a shield with three roughly drawn lions, from Matthew Paris's Abbreviated Chronicles of England, made in St Albans c. 1255–1259, Cotton MS Claudius D VI, f. 9v

Today, the three lions are joined by another royal heraldic symbol: ten Tudor roses, symbolising the different divisions of the English Football Association. These roses are red and white, combining symbols of the two opposing sides from the Wars of the Roses.

A page from a 16th-century manuscript, showing an illustration of the Tudor rose entwined with the pomegranate motif of Katherine of Aragon.
The Tudor rose entwined with the pomegranate motif of Katherine of Aragon, from Thomas More's Coronation Suite, Cotton MS Titus D IV, f. 12v

Nor is England the only team in the World Cup with medieval or even older iconography emblazoned on their kits. The Japan side’s symbol is the three-legged crow Yatagarasu. The three-legged bird is a figure in many East Asian mythologies, stretching back perhaps thousands of years BCE. When Sweden play England on Saturday, their players will be wearing blue and yellow: these colours have been associated with Sweden perhaps since the late 13th century, when King Magnus III used them on his coat of arms.

Now, if only we could persuade the England football team to actually play like lions ...

 

Alison Hudson

Follow us on Twitter @BLMedieval

03 July 2018

Dance moves from medieval manuscripts

It is quiet in the office this week. The team working on the The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700-1200 will be in Leeds, at the International Medieval Congress. Don’t miss their presentations in sessions 938 (Tuesday at 19.00), 545 (Tuesday at 9.00 AM), 638 (Tuesday at 11.15 AM), and 712 (Tuesday at 14.15). 

A detail from the Queen Mary Psalter, showing an illustration of a woman and a man, dressed as a satyr, dancing.
Detail of a bas-de-page scene of a young woman and a man, in the guise of a satyr, dancing together, from the Queen Mary Psalter, made in England (London or Westminster), c. 1310–1320: Royal MS 2 B VII, f. 166r

You might also see them at the conference disco, demonstrating some impressive dance choreography inspired by medieval manuscripts. If you’d like to try some medieval moves yourself, we’ve created this handy guide, divided into ‘easy’, ‘medium’ and ‘difficult’ techniques. Note: these tips also work for balls, weddings, school dances, and any other terpsichorean events you might be attending this summer.

Easy: The Luxuria/Psychomachia

Hold one hand in the air like a highland dancer, while kicking one foot in front of the other. Keep the other arm bent. To make it even easier, you can even keep your hand open.

A detail from an 11th-century manuscript of the Psychomachia, showing an illustration of Luxuria and her companions dancing.
Detail of Luxuria and companions dancing, from a copy of Prudentius's Psychomachia, England, 11th century: Cotton MS Cleopatra C VIII, f. 19v

A detail from an 10th-century manuscript of the Psychomachia, showing an illustration of Luxuria and her companions dancing.
The same scene from another copy of Prudentius' Psychomachia, England, c. 980–1010: Add MS 24199, f. 18r

Medium: the Saint-Étienne Shimmy

Put one hand on your hips and sway your whole body, including your head, while your other hand is up in the air: think distant ancestor of Beyoncé's 'Single Ladies' music video. This works best if you are wearing a long headdress that can move around as you dance.

A detail from a medieval Gradual, showing an illustration of a dancing figure.
Detail of a dancing figure from a Gradual of Saint-Etienne of Toulouse, made in Toulouse in the late 11th or early 12th century: Harley MS 4951, f. 300v

Difficult: the Salomé

Salomé’s ‘Dance of the Seven Veils’ is frequently represented in medieval iconography as a form of extreme limbo or a handstand. Remember, however: if you are wearing a long skirt, keep your knees bent!

A detail from a 13th-century Psalter, showing an illustration of Salomé’s Dance of the Seven Veils.
Detail of Salomé’s dance from a Psalter made in Oxford, c. 1200–1210: Arundel MS 157, f. 7r

A detail from the Holkham Bible Picture Book, showing an illustration of Salomé’s Dance of the Seven Veils.
Same scene from the Holkham Bible Picture Book, England, c. 1327–1335: Add MS 47682, f. 21v 

Whether you’ve got twinkle toes or two left feet, medieval manuscripts have some dance tips for you!

 

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