Medieval manuscripts blog: Illuminated manuscripts

14 November 2017

Canon tables in the Lindisfarne Gospels now on display

As a text, the canon tables are ubiquitous and fundamental to Christian copies of scripture. Over many centuries copies of the Gospels in Latin, Greek, Coptic, Ethiopic, Armenian, Gothic, Syriac, Georgian or Slavonic begin with these tables. Devised and created in Greek by the early Church Father Eusebius (d. 340), bishop of Caesarea in Palestine, these tables formed a unifying gateway to the fundamental, but multiple narratives of the Evangelists Saints Matthew, Mark, Luke and John. As Eusebius explained in a prefatory letter to his friend Carpianus, he compiled the ten tables (or canons, in Greek) to help the reader ‘know where each of the Evangelists was led by the love of truth to speak about the same things’.

Canon 1 lists passages common to all four Gospels, Canons 2-9 different combinations of two or three Gospels and Canon 10 those passages found only in one Gospel. Building on a system of dividing up the text of the Gospels into verses that he attributed to Ammonius of Alexandria, Eusebius assigned consecutive numbers to sections in each Gospel and used these numbers within his tables to correlate related passages. By this means he adduced the unity of the four narratives without attempting to harmonise them into a single text.

Codex Sinaiticus, the folio currently on display at the British Library: Add MS 43725, f. 201r

The earliest known evidence for the use of the tables occurs in Codex Sinaiticus, an extraordinary 4th-century Greek manuscript that is also the earliest surviving complete New Testament. In Codex Sinaiticus the tables themselves do not survive, but the Ammonian section numbers are included throughout the Gospels. These can be seen in the Gospel of St Matthew currently on display in the British Library’s Sir John Ritblat Treasures Gallery, or viewed in detail on our Digitised Manuscripts website. In Codex Sinaiticus, the section numbers (in Greek characters) are added on the left-hand side of each column in red ink, with the number of the canon table that needs to be consulted for parallel texts of that section.

Section 16, canon 5: a note in the Gospel of St Matthew, a detail from Codex Sinaiticus (Add MS 43725, f. 201r column 2)

For example, in the right-hand page on display in the Gallery, the third number in the second column (in the account of one of Christ’s temptations) is marked as section 16, in Canon 5. Further information about the manuscript is available on the Codex Sinaiticus website, including a full transcription and translation, and in this previous blogpost.

The Golden Canon tables, Constantinople, 6th–7th century (Add MS 5111/1)

One of most splendid illuminated examples of the Canon Tables in Greek are the leaves now known as the Golden Canon Tables, because they are written on parchment previously painted entirely with gold. Made in Constantinople in the 6th or 7th century, the tables are now fragmentary but nevertheless betray a very sophisticated artistic style. They are a rare witness of an early version of these tables.

The pages of the Lindisfarne Gospels currently on display at the British Library: Cotton MS Nero D IV, ff. 14v–15r

Canon tables are also included in the Latin copy of the Gospels known as the Lindisfarne Gospels, which was probably made on the island of Lindisfarne in Northumbria in around 700. The fifth canon, which lists texts that are common in the two Gospels of St Matthew and St Luke, is now on display in the British Library's Treasures Gallery. This is the same canon as that referred to in Codex Sinaiticus, several centuries earlier. The canons in the Lindisfarne Gospels are surrounded by intricately designed micro-architectural decoration, with wonderful intertwined biting birds. You can view them in more detail with the zoom function on the Digitised Manuscripts website, or visit the Treasures Gallery in the coming months.

Posted by Ancient, Medieval, and Early Modern Manuscripts at 12:01 AM in Ancient , Anglo-Saxons , Greek , Illuminated manuscripts , Latin , Manuscripts , Medieval | Permalink | Comments( 0)

07 November 2017

Illumination study day at the British Library

A couple of weeks ago we held a very successful study day for the University of the Third Age, with the British Library Learning Centre auditorium filled to capacity. We thought it might be helpful to provide a list of the British Library manuscripts and suggestions for further reading, for those who would like to look at the manuscripts again in more detail.

Dr Alixe Bovey (Head of Research at the Courtauld Institute of Art, London) discussed 'The World in Illuminated Manuscripts'.

Harley MS 7182, ff. 58v–59r, a depiction of the world based on Ptolemy’s Geography

Harley MS 3667, f. 8v, an Isidoran ‘T-O’ map of the world, Annals of Peterborough Abbey

Harley MS 2772, f. 70v, Macrobius, Commentary of Cicero’s Dream of Scipio

Egerton MS 2781, ff. 1v, 48r, 190r, the Neville of Hornby Hours: f.1v: diagram of the cosmos; f. 48r: the seasons; f. 190r: possible depiction of the manuscript’s owner

Harley MS 4940, f. 28r, Matfre Ermengau, Breviari d’amor, angels cranking the universe

Harley MS 4431, f. 187v, the Book of the Queen, a sibyl shows Christine de Pizan the firmament

Harley MS 3647, f. 32r, an astronomical miscellany

Royal MS 1 E VII, f. 1v, the Creation, in a Bible made at Canterbury

Add MS 18719, f. 1r, a Bible moralisée, Creation scenes

Royal MS 2 B VII, f. 1v, the Queen Mary Psalter, God and Lucifer

Add MS 18856, ff. 5v and 7v, a Bible historiale: f. 5v: creation of sun and moon; f. 7v: God resting

Harley MS 616, f. 1r, a Bible, Creation scenes

Royal MS 14 C IX, ff. 1v–2r, Ranulf Higden, Polychronicon, map

Harley MS 2633, f. 53v, commentary on Cicero's De somno Scipionis, mappa mundi

Sloane MS 2435, f. 1r, Aldobrandino of Siena, Le Régime du corps, Creation scene

Miniature of God holding a compass with angels and cherubins, and Lucifer with fallen angels and devils: Royal MS 2 B VII, f. 1v

Scribe and illuminator Patricia Lovett MBE gave us a calligrapher’s view on parchment, the preparation of pens, ink and pigments, and the writing and illumination process. Her recent publication includes lots of examples and discussion: The Art and History of Calligraphy (British Library, 2017).

Dr Kathleen Doyle (Lead Curator, Illuminated Manuscripts, The British Library) focused on the different types of illustration in English Psalters.

Add MS 89250, the Mostyn Psalter

Add MS 42130, the Luttrell Psalter

Cotton MS Vespasian A I, the Vespasian Psalter

Cotton MS Tiberius C VI, the Tiberius Psalter

Cotton MS Nero C IV, the Winchester Psalter

Royal MS 2 B VII, the Queen Mary Psalter

Royal MS 2 A XVI, the Psalter of Henry VIII

Arundel MS 83, the Howard Psalter

Add MS 62925, the Rutland Psalter

Arundel MS 157, a Psalter

Illuminated initial 'Q'(uam) at the beginning of Psalm 83 (84), with a partial foliate border inhabited by a human-headed hybrid creature and geometric line fillers. In the lower margin are two naked wrestlers, one purple and one brown, engaged in a game of foot-wrestling: Add MS 42130, f. 152v

In the afternoon, Dr Mara Hofmann (Sotheby’s) gave us a whistle-stop tour of the highlights of French illuminated manuscripts. Mara has written a detailed guide with lots of examples, as part of the British Library’s online digital Catalogue of Illuminated Manuscripts virtual exhibition, available here.

The programme closed with Dr Scot McKendrick (Head of Western Heritage Collections at the British Library), who similarly illustrated the richness of Flemish Illuminated Manuscripts.

Add MS 34294, f. 133v, Gerard Horenbout, Virgin and Child in Glory, in the Hours of Bona Sforza

Add MS 18855, ff. 109r, 108v, Simon Bening, June, December

Royal MS 2 A XVIII, f. 11v, Master of Beaufort Saints, St Christopher, in the Beaufort/Beauchamp Hours

Add MS 89066/2, ff. 69v–70r, Loyset Liédet, Coronation of the Emperor Galba, in Vengeance de Nostre Seigneur

Harley MS 4418, f. 99r, Créquy Master, Christians fighting Saracens, in the Roman de Mélusine

Cotton MS Vespasian B I, f. 15r, Master of the Harley Froissart, Presentation to Philip the Good

Royal MS 14 E V, f. 29r, Master of the Getty Froissart, Fortune appearing to Boccaccio, in Des cas des nobles hommes et femmes

Add MS 71117, ff. C, J, Simon Marmion, St Matthew and David in Prayer, from the Hours of Ladislas IV Vasa

Add MS 38126, ff. 102v–103r, ff. 240v–241r, Simon Marmion, Virgin and Christ; Virgin and dead Christ, in the Huth Hours

Add MS 18851, ff. 41r, 437r, Gerard David, Adoration of the Kings, Coronation of the Virgin, in the Breviary of Isabella of Castile

Add MS 18852, ff. 411v–412r, St James the Greater, in the Hours of Joanna of Castile

Add MS 54782, f. 230r, Hastings Hours

Add MS 35313, ff. 89v–90r, Master of James IV of Scotland, Nativity and Augustus and the Tiburtine Sibyl, in the Rothschild Hours

Add MS 17280, ff. 24v–25r, Master of the Dresden Prayer Book, Trinity and Monday Hours, in the so-called Hours of Philip the Fair

Add MS 18852, ff. 14v-15r, Fall of Man and Mirror of Conscience, in the Hours of Joanna of Castile

Add MS 24098, f. 18v, Simon Bening, Month of December, in the Golf Book

Egerton MS 1147, f. 229r, Simon Bening (?), Agony in the Garden and Arrest of Christ

Add MS 12531, f. 4r, Portuguese Royal Genealogies

Royal MS 16 F II, f. 89r, Poems of Charles of Orleans

Royal MS 8 G VII, f. 2v, Collection of motets

Miniature with Christ praying on the Mount of Olives, accompanied by a full border with the Betrayal, at the beginning of the Passion of Christ: Egerton MS 1147, f. 229r

How many horns does a unicorn have?

How many horns does a unicorn have? It's the kind of trick question you might encounter when watching the British television series QI. One, I hear you say — everyone knows that. Unicorns only have ONE horn (the clue is in the name). And that's what I used to think too, but it seems we’ve all been duped. Sometimes a unicorn can have TWO horns. I know, right? Whatever next?

A lion-like unicorn: British Library Burney MS 97, f. 18r

I first came across the infamous two-horned unicorn when selecting the objects for the British Library's new exhibition, Harry Potter: A History of Magic (#BLHarryPotter). The printed book illustrated below, on show in the show, has a diagram featuring five different species of unicorn. It was published in Paris in 1694 and is the work of Pierre Pomet, a French pharmacist. Apart from realising that you discover something new every day — it's incredible to learn that so many species of unicorn have been identified — your eye is also drawn to the beast in the lower, left-hand corner. It clearly has a pair of horns. That's cheating, surely?

Five species of unicorn, in Pierre Pomet, Histoire générale des Drogues, traitant des plantes, des animaux et des mineraux (Paris, 1694): British Library 37.h.7., part 2, p. 9

On closer inspection, I learned that the mysterious unicorn in question is known as a pirassoipi. We might be inclined to call it a bicorn. Delving deeper, we learn that it was described as being as large as a mule and as hairy as a bear. But our story then takes a rather distressing turn. Pomet noted that unicorn horn was ‘well used, on account of the great properties attributed to it, principally against poisons’. Unicorns, in other words, were valued for their body parts. The rather grisly image below, taken from a study of the unicorn by Ambroise Paré, published in 1582, depicts in the background the killing and skinning of a pirassoipi. Paré was surgeon to the French Crown and he had a keen interest in strange phenomena (his book also contains chapters on mummies and poisons). In his commentary, he admitted uncertainty whether the body parts of the unicorn would have any medicinal effectiveness.

An Italian unicorn, in Discours d’Ambroise Paré, Conseiller et Premier Chirurgien du Roy. Asçavoir, de la mumie, de la licorne, des venins, et de la peste (Paris, 1582): British Library 461.b.11.(1.), f. 27r

Let's have another look at the unusual unicorn illustrated at the beginning of this blogpost. It's found in a 16th-century Greek manuscript, accompanying a poem by Manuel Philes called On the properties of animals. According to the poem, the unicorn was a wild beast with a dangerous bite: it had the tail of a boar and the mouth of a lion. Distinctly un-unicorn-like, isn't it?

The unicorn with the tail of a boar and the mouth of a lion: Burney MS 97, f. 18r

The unicorn is not the only beast illustrated in this manuscript. Its pages are filled with drawings of herons and pelicans, a wolf and a porcupine, and even a cuttlefish. One of my favourites is the illustration of the mythical centaur: it has a pair of over-extended human arms serving as its front legs. The scribe of this manuscript is named as Angelos Vergekios, a Cypriot who had made his home in France, and the illustrator is said to have been his daughter. Here is a selection of those images to whet your appetite. (A few years ago we completed the digitisation of all the British Library's Greek manuscripts thanks to the generosity of the Stavros Niarchos Foundation: the whole manuscript can be viewed on our Digitised Manuscripts site.) We'd love you to take a look at all of them and to tell us your favourites (please use Twitter or the comments form below).

A heron: Burney MS 97, f. 4r

Owls: Burney MS 97, f. 10r

A lioness: Burney MS 97, f. 16v

A centaur: Burney MS 97, f. 19v

A porcupine: Burney MS 97, f. 26v

Is is safe to go back into the water? A swordfish, narwhal, hammerhead shark and whale: Burney MS 97, f. 31v

An upside-down octopus: Burney MS 97, f. 40r

A cuttlefish: Burney MS 97, f. 41v

And this returns us neatly to the theme introduced at the beginning of this blogpost. It is a central premise of our exhibition, Harry Potter: A History of Magic, that there are lots of things about the real world that we don't properly understand or don't even know about. When the curators started their research a couple of years ago, I could never have imagined that we would have encountered a unicorn with two horns, and that our journey would introduce us at the same time to such a beautifully illustrated manuscript. And now you can show off to your friends too, whenever someone asks "how many horns does a unicorn have?".

Harry Potter: A History of Magic is on display at the British Library in London until 28 February 2018.

Julian Harrison, Lead Curator Harry Potter: A History of Magic and Medieval Historical Manuscripts

We'd love you to follow us on Twitter @BLMedieval.

If you tweet about the exhibition, don't forget to use the hashtag #BLHarryPotter.

Posted by Ancient, Medieval, and Early Modern Manuscripts at 12:01 AM in Animals , Harry Potter , Illuminated manuscripts , Manuscripts , Medieval , Medieval history , Printed books | Permalink | Comments( 0)

01 November 2017

A calendar page for November 2017

Ah, November – the days are shorter and it’s getting colder! Let’s dive into the 11th month as shown in Add MS 36684. If you’d like to know more about this fascinating Book of Hours, see January’s post, and for more on medieval calendars, check out our calendar post from 2011.

Calendar pages for November, from a Book of Hours, St Omer or Théouranne, c. 1320, Add MS 36684, ff. 11v–12r

The first page of November’s calendar is a riot of colour and decoration. Crowning the page is a lizard-bird hybrid creature, with a green head, lurid red lips, red feet and a long, feathered tail.

Detail of lizard creature, Add MS 36684, f. 11v

The right margin – known in medieval manuscript parlance as the ‘gutter’, because it falls between the two bound pages – includes the intriguing combination of a tonsured male head stuck between two long legs. Above him stands a stork-like figure with bright orange, spindly legs and a long, pointed beak.

Right margin, Add MS 36684, f. 11v

November’s labour of the month is arguably the creepiest scene we’ve had in this calendar, but how was it perceived by contemporary audiences? Our labourer wields an enormous axe. The animal in a box next to him is likely a hunting dog used to help capture the boar depicted at the labourer’s feet. The boar is about to be stunned with the back of the axe, before being slaughtered. This method is called ‘poleaxing’ and is the origin of the modern term. A poleaxe is a butcher’s axe with a hammer as well as a blade.

Slaughtering a boar: the labour of the month for November, Add MS 36684, f. 11v

A similar scene of slaughter for the month of December appears in the Bedford Hours (f. 12r), except the figure holds a giant mallet.

Slaughtering livestock at the beginning of winter ensured the animals were killed before they began to lose the weight gained over summer and autumn. Rural communities could then feast on the fresh meat and preserve as much as possible for the year’s meanest months. In fact, Blotmonath (blood month) was the Anglo-Saxon name for November. This may seem sinister to us now, but for them it must have held a promise of winter feasts and nourishment when food was scarce.

November’s calendar finishes on the second page with the zodiac figure of Capricorn, shown as a goat. As we discussed in August’s post, the artist is ahead of himself with zodiac figures; Capricorn is normally shown in December, as its period is December-January.

Capricorn, Add MS 36684, f. 12r

Please do go and browse all of the wonderful Add MS 36684 in high definition on our Digitised Manuscripts site.

Taylor McCall

Posted by Ancient, Medieval, and Early Modern Manuscripts at 12:01 AM in Calendars , Illuminated manuscripts , Manuscripts , Medieval | Permalink | Comments( 1)

30 October 2017

The Art of the Bible lecture at Dulwich Picture Gallery

All writers will know of the struggles, mental and physical, in completing a project. This is nothing new. In April 1091, the monk Dominicus described his relief at having completed writing out a large-scale copy of the book of Revelation and an associated commentary:

My book is ended … For the scribe it has been hard toil; for the reader it will be uplifting and refreshing. The scribe drains his body of strength, while the reader nourishes his mind. So if you gain anything from this work, forget not the labouring scribe … Those who cannot write think it no work at all. Should you, however, wish to know what labour it entails, I shall tell you how heavy a burden writing is. It brings darkness to your eyes, crooks your back, wrecks your ribs and stomach, pains your kidneys and engenders loathing of your body … As sweet as the home port is to the sailor, so is the final line to a scribe. The end. To God be thanks for ever.

Colophon in which Dominicus describes his relief, from the Silos Apocalypse, Add MS 11695, f. 278r

Dominicus also identified himself and brother Munnio, monks at the abbey of Santo Domingo in northern Spain, as the scribes of the work in an inscription, and possibly also the flowers below it: ‘Scribano Monnio’ and ‘scribano Dominico’.

Detail of flowers possibly identifying the scribes, from Add MS 11695, f. 278r

These scribes' work, now known as the Silos Apocalypse, and illuminated twenty years later with stunning illustrations, is one of the treasures of the British Library. You may like to know that the manuscript is fully digitised, and available on the Library’s Digitised Manuscripts website: the Silos Apocalypse, British Library Additional 11695. It is also featured in the recent book, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames and Hudson and the British Library, 2016).

St John before Christ, with a double-edged sword either side of his mouth, with the Seven Churches represented by arches, Revelation 1:10-20, Add MS 11695, f. 24r

The authors, British Library curators Dr Scot McKendrick and Dr Kathleen Doyle will be discussing their feelings of arriving at the ‘home port’, and hopes that readers will find their work ‘refreshing’, at Dulwich Picture Gallery on 15 November, as part of the lecture series, InSight Lecture Series: Book Illustration: Enriching the Story. For more information and to book tickets, follow this link.

The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames and Hudson and the British Library, 2016)

Scot McKendrick and Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the British Library

Dulwich Picture Gallery

15 November 2017 (10.30–11.30)

Kathleen Doyle

Posted by Ancient, Medieval, and Early Modern Manuscripts at 11:56 AM in Illuminated manuscripts , Manuscripts , Medieval | Permalink | Comments( 0)

26 October 2017

The gladiator saint

Gladiatorial games were spectacular shows in the ancient world. In theatres built across the Mediterranean, from the Middle East to the site of the Guildhall in London, professional fighters did battle to entertain the public. The origins of these combats went back to the early Roman Republic, when they probably had magical functions. As part of the funerary rituals, they were sacrifices to the netherworld or played a role in war-magic with gladiators bearing the enemy’s names being gloriously defeated by Roman-looking gladiators to ensure their victory in real battles.

Miniature of a wrestling game from a 15th-century illustrated copy of Virgil’s Aeneid: King's MS 24, f. 88

From the mid-3rd century, however, gladiatorial games became an integral part of city entertainment and political propaganda. Should anyone like to be a successful politician, all he needed to do was to organise a lavish spectacle of games, lasting for several days, accompanied by banquets and scenic performances, and success would be guaranteed. No wonder then that such combats were especially popular in imperial times. Later Roman emperors were constantly trying to outbid their predecessors by funding more and more luxurious games. They recruited gladiators from all over the empire and purchased exotic animals — elephants, lions and bears — to populate their amazing theatres that could even host miniature sea battles.

Fragment of a 3rd-century representation of an arena-scene from Oxyrhynchus: Papyrus 3053

Gladiators, by these times, were professional combatants, some of them fighting as slaves but also for money or fame or simply revenge, not unlike Maximus in Ridley Scott’s 2000 film, Gladiator. From the 1st century CE onwards, a new aspect appeared: Christians, arrested for their faith, started to appear on the stage to serve as mass victims to the slayers.

Details of illustrations showing martyrs tortured in the arena, from the Theodore Psalter, Constantinople, 1066: Add MS 19352, f. 55r

However, we also hear about the opposite: gladiators, warriors and their slayers coould also become saints. In a 14th-century Greek manuscript held by the British Library we find a story about Nestor, a 3rd-century Greek gladiator.

Lection for 26 October from a 14th-century collection of saints lives: Harley MS 5069, f. 178v

On the afternoon of 26 October, so the story relates, the emperor organised luxurious games to celebrate his arrival in Thessalonica. The highlight of the event was when his favourite gladiator, a giant 'barbarian' called Lyaeus, boasted of his numerous victories all over the Empire and challenged the Christians of the city, calling them to fight and defeat him in single combat. The rules were strict: the emperor built a special stage for Lyaeus’s battles, similar to a threshing floor on pillars. Spears, points upward, were planted beneath this platform. When Lyaeus defeated someone in wrestling, he would throw him from the platform onto the forest of spears. No one could beat him in this special combat.

Nestor fighting Lyaeus in the arena before the Emperor Maximianus from the Theodore Psalter, Constantinople, 1066: Add MS 19352, f. 125v

Nestor accepted this challenge. Jumping onto the stage, he knocked down Lyaeus and threw him onto the sharp spears. According to the story, this made him a champion not only of Christianity but also of Hellenism and civilisation. Although Nestor was put to death immediately by the furious emperor for the murder of his favourite wrestler, Nestor's reputation outlived him. He became renowned as the first holy gladiator, celebrated from Greece to England every 26 October.

Nestor slaying Lyaeus from a 12th-century English lectionary: Arundel MS 91, f. 107r

Nestor's story, whatever historical truth might be in it, offers an account of a special type of gladiatorial games. His story also showed how the memory of gladiatorial games was perpetuated in art, texts and the imagination of later generations who — had the old manuscripts not preserved the story — would know little about these ancient games.

Peter Toth

Posted by Ancient, Medieval, and Early Modern Manuscripts at 12:01 AM in Ancient , Greek , Illuminated manuscripts , Manuscripts , Medieval | Permalink | Comments( 0)

25 October 2017

Purple pages at the Ashmolean

How have humans depicted and talked about gods? Some answers to this question are presented at the exhibition Imagining the Divine, which is on at the Ashmolean Museum in Oxford until 18 February 2018. This exhibition focuses on the 1st millennium AD — a time which witnessed the development and expansion of several major world religions — and it shows how different religious traditions influenced and interacted with one another. The British Library is delighted to have loaned a number of manuscripts to the exhibition which exemplify that theme.

A purple page with gold and oxidized silver letters, from the Royal Bible, Canterbury, early 9th century: Royal MS 1 E VI, f. 1v

One of the manuscripts that can currently be seen at the Ashmolean is the Royal Bible (Royal MS 1 E VI), which was probably made at Canterbury in the early 9th century. Its ninth-century scribes created at least three pages covered in a deep purple colour, with text written in silver and gold. Pages dyed or painted purple had been created in the Mediterranean earlier in the first millennium. Purple was a colour reserved for the clothes of Roman emperors and it had connotations of power and luxury.

Purple pages from the Codex Purpureus Petropolitanus, 6th century: Cotton MS Titus C XV, f. 4v

In a Christian context, purple pages and text in gold silver represented the glory of heaven. As the text in a late 8th-century gospel lectionary (Paris, BnF nouv acq lat 1203, f. 126v) put it:

Golden words are painted on purple pages

The Thunderer's shining kingdoms of the starry heavens,

Revealed in rose-red blood, disclose the joys of heaven ...

(translated by Paul E. Dutton)

Striking ‘purple pages’ were used in sacred texts throughout and beyond Europe. The Ashmolean’s exhibition also features a Qu’ran from Baghdad with deep blue pages. Like the Royal Bible, it was made in the 9th century.

The ‘blue Qu’ran’ on display at the Ashmolean Museum, from the Sarikhani Collection

The exhibition also shows how much work went into the showpieces that the scribes produced. On display is an end page of a British Library manuscript (Royal MS 15 A XVI) where different scribes have copied words or fragments of prayers and hymns. At the top of the page, someone has practised drawing interlace decoration. This type of decoration is found in manuscripts throughout northern Europe and also in metalwork and sculpture. Other examples are on display in the exhibition. Underneath the interlace is a very rough sketch of a man with a shield.

Practice makes perfect! End page with additions by late 10th- or early 11th-century scribes: Royal MS 15 A XVI, f. 84v

The rest of the manuscript contains riddles, a poem on the Gospels, a glossary of Greek words and a copy of Bede’s textbook, On the Art of Poetry. These texts were written by Northumbrian, West Saxon and Iberian authors. However, judging by this manuscript’s ink and script, it was mostly copied in what is now France, before coming to England, which is probably where the scribes added the pen trials.

Detail of pen trials of interlace from Royal MS 15 A XVI, f. 84v

Other items loaned by the British Library to the exhibition come from the Asian and African collections. These include a copy of the Book of Exodus in Arabic script (Or 2450); a copy of the Heart Sutra from China, where the text is written in the shape of a stupa, or shrine (Or 8210/S4289); and an 8th-century Qu’ran (Or 2165). If you get a chance, you can visit the Ashmolean and see them all!

Posted by Ancient, Medieval, and Early Modern Manuscripts at 12:01 AM in Anglo-Saxons , Illuminated manuscripts , Manuscripts , Medieval , Medieval history | Permalink | Comments( 0)

22 October 2017

Prepare to be spellbound

As a general rule, we don't like to start our blogposts with the words, 'We are delighted to announce'. But there's always an exception, and this is it! We are delighted to announce that the British Library's amazing new exhibition, Harry Potter: A History of Magic is now officially open to the public.

Our exhibition celebrates the 20th anniversary of the first publication in the United Kingdom of J.K. Rowling's Harry Potter and the Philosopher's Stone, originally released in 1997. But, in a new departure, the exhibition also examines the history, mythology and folklore that lie at the heart of the Harry Potter stories. As well as original drafts and drawings loaned by J.K. Rowling herself, alongside artwork by Jim Kay (who is illustrating the Harry Potter books for Bloomsbury), you'll find on display a range of glorious items from the British Library's own collections, including Chinese oracle bones, papyri and a host of medieval manuscripts.

The Ripley Scroll, dating from around 1600, and explaining how to make your very own Philosopher's Stone. The entire manuscript, all 5.9 metres of it, is on display in the exhibition.

Tickets are selling fast — this Potter thing might just catch on one day — but we'd love you to visit London to see the show in person between now and its final day, 28 February. In the meantime, here is a sneak preview of some of the manuscripts you'll be able to see.

Harvesting a mandrake, medieval style (so that's how you do it!)

A phoenix plucking twigs to make its own funeral pyre, before rising from the flames (please don't try this at home)

How to protect yourself against malaria? Write out the word 'abracadabra' repeatedly on a piece of parchment (it's obvious when you think about it).

Harry Potter: A History of Magic is on at the British Library from 20 October 2017 to 28 February 2018. Tickets can be purchased here. The exhibition has been staged by the British Library in partnership with The Blair Partnership (representing J.K. Rowling) and Bloomsbury Publishing, with the kind assistance of Pottermore and Google Arts and Culture, and the generosity of numerous lenders.

The exhibition books Harry Potter: A History of Magic and a version designed especially for younger people, Harry Potter: A Journey Through the History of Magic, are available to buy through the British Library's online shop. (They're quite good, really: note to reader, I helped to write them.)

You may also like to join our online conversation about the exhibition, using the hashtag #BLHarryPotter, with tweets by @britishlibrary, @BLMedieval and the exhibition curators. Even J.K. Rowling has joined in! Hope to see you in London soon.

Julian Harrison (Lead Curator, Medieval Historical Manuscripts and

Harry Potter: A History of Magic)

Harry Potter: A History of Magic

The British Library, London

20 October 2017–28 February 2018

Posted by Ancient, Medieval, and Early Modern Manuscripts at 7:51 AM in Ancient , Anglo-Saxons , Animals , Early modern , Events , Harry Potter , Illuminated manuscripts , Literature , Manuscripts , Medieval , Medieval history , Science | Permalink | Comments( 0)

Tags: #BLHarryPotter , British Library , Harry Potter

Medieval manuscripts blog

891 posts categorized "Illuminated manuscripts"

Canon tables in the Lindisfarne Gospels now on display

Illumination study day at the British Library

How many horns does a unicorn have?

A calendar page for November 2017

The Art of the Bible lecture at Dulwich Picture Gallery

The gladiator saint

Purple pages at the Ashmolean

Prepare to be spellbound

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