05 February 2023
Magnificent margins in the Alexander Romance
One of the greatest achievements of medieval manuscript illumination, as well as one of the highlights of the British Library’s current exhibition, Alexander the Great: The Making of a Myth, is the Bodleian Library's MS Bodley 264. Completed in Tournai (modern-day Belgium) in 1344, it contains the fullest version of the interpolated Old French Roman d'Alexandre, with some of the most vivid illustrations in any medieval romance. Perhaps most well-known are the border illustrations, remarkable for their panorama of medieval society and fantastic imagination.
Alexander’s campaigns against Darius, with musicians, jongleurs and archers in the upper and lower borders (Tournai, Flanders, 1344): The Bodleian Libraries, University of Oxford, MS Bodley 264, f. 51v
Alexander’s companions dance and make merry, with musical notation; in the lower border figures in chivalric dress with animal heads dance a carole with maidens: MS Bodley 264, f. 181v
Sometimes the subjects in the borders mirror the action in the Alexander stories, but mostly there is little or no connection. The subjects vary from medieval sports and games to daily activities like cooking and bathing, to sport and entertainment.
Romantic interludes in the border: MS Bodley 264, f. 76v
Alexander’s army is attacked by ‘ypopatamos’; beneath, a dog chases a stag and people watch a puppet show remarkably like Punch and Judy: MS Bodley 264, f. 54v
Children walking on stilts: MS Bodley 264, f. 65r
A youth with a pipe and a drum plays to a pantomime stag with pointed slippers on its hind feet; a mother calls two children to watch: MS Bodley 264, f. 70r
Blind men being led to a yard, where they try to kill a pig with clubs: MS Bodley 264, f. 74v
Bathing: MS Bodley 264, f. 75r
A horse-drawn cart and roasting carcasses on an open fire: MS Bodley 264, f. 83v
Many of the border images are wildly improbable and difficult to categorise. We leave the following to our readers to interpret.
Border image: MS Bodley 264, f. 56r
Border image: MS Bodley 264, f. 68r
Border image: MS Bodley 264, f. 69v
Border image: MS Bodley 264, f. 72v
Border image: MS Bodley 264, f. 74r
Lastly, there are the ever-popular vengeful rabbits.
Alexander and his army fighting griffins; in the lower border, rabbits wreak revenge on humans: MS Bodley 264, f. 81v
You can see this manuscript for yourself in our Alexander the Great: The Making of a Myth exhibition, until 19 February 2023. Tickets can be purchased in advance online or on the door (subject to availability).
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards the exhibition, as well as other trusts and private donors.
Chantry Westwell
Follow us on Twitter @BLMedieval
31 January 2023
Alexander the Great versus the elephants
Have you ever wondered how to defeat an army or a herd of wild elephants? Alexander the Great knew how, to judge by accounts (both historical and legendary) of his campaigns in the East. Elephants feature most prominently in Alexander's famous battle with King Porus of Inda in 326BC, as described by Plutarch, Arian and the later Roman historian Quintus Curtius Rufus. Curtius’ Historia was translated into French, and illuminated copies were produced in considerable numbers in the 15th century, notably for Charles the Bold, Duke of Burgundy (1467–1477), who modelled himself on Alexander.
A battle between Alexander and Porus with elephants, in Quintus Curtius Rufus. Historia Alexandri magni, translated by Lucena: Burney MS 169, f. 165v
Curtius describes how Alexander and his men faced a terrifying force of 300 chariots, 30,000 foot soldiers and 85 elephants with castles on their backs, on the opposite bank of the river Hyaspedes. King Porus himself was mounted on a huge elephant that towered above the rest, decorated with silver and gold armour. Fortunately, Alexander and his troops were already familiar with these terrifying creatures, as he had earlier been presented with 56 elephants by King Omphis of Taxila.
Using his characteristic strategic genius, Alexander sent troops to cross the river further down in order to surprise his opponents. By attacking on two fronts, he restricted the elephants’ room to manoeuvre. Alexander’s great victory over Porus soon became the stuff of legend. The French Roman d’Alexandre en prose tells that he employed ‘ymages de laiton’ (bronze models of soldiers) filled with red hot coals, which he placed in iron chariots and sent in among the elephants. When they saw the burning embers and felt the scorching heat, the elephants fled in terror. A manuscript made in Bruges manuscript illustrates the burning soldiers in chariots facing the elephants.
The battle between Alexander and King Porus, with the elephants and bronze model soldiers filled with hot coals, in the Roman d’Alexandre en prose: Harley MS 4979, f. 51r
Legend has it that after another battle, a short period of friendship ensued, during which Porus took Alexander to see the wonders of India. But the truce was short-lived and Alexander finally killed Porus in single combat. Determined to continue his journey of conquest as far as the ocean, he encountered many strange and dangerous creatures, including a herd of ferocious elephants. The cunning Alexander, aware that elephants were afraid of the sound of squealing of pigs, sent into their midst a troop of horsemen, trumpeters and all the pigs he could find. The elephants fled in terror, pursued by the horsemen, who killed 980 of them and brought back their ‘teeth and horns’. This story is illustrated in a manuscript of the Roman d’Alexandre en prose made in Paris around 1425, perhaps for a young owner, as it has startling, colourful images on almost every page.
Alexander’s army with trumpets and pigs confronting the wild elephants, in the Roman d’Alexandre en prose: Royal MS 20 B XX f. 57r
Alexander’s life story was incorporated into world histories such as the Histoire ancienne jusqu’à César, which encompassed all of human history from Creation to the reign of Julius Caesar. In this version of the Alexander legend, Porus and Alexander were exploring the far reaches of India when they made camp for the night near a forest, before finding that it was infested with fierce elephants. Porus told Alexander not to worry. He should gather together some ‘truie’ (sows), upset them so that they squealed loudly at the elephants, who would immediately flee in terror, fearing this noise more than anything.
Alexander fighting with pigs against elephants (above), and meeting the talking trees of the Sun and the Moon and their Indian guardian (below), in the Histoire ancienne jusqu’à César (Northern France, 2nd half of the 13th century): Add MS 19699, f. 156r
Alexander’s army with wild pigs confronting elephants in a forest, in the Histoire ancienne jusqu’à César (Paris, late 14th century): Royal MS 16 G VII, f. 133v
In a luxurious copy of the prose Roman d’Alexandre made for Margaret of Anjou (1429–1482), future queen of England, Alexander and his soldiers are shown attacking a group of elephants with spears; the pigs mentioned in the accompanying text are nowhere to be seen.
Alexander’s army fighting elephants, in the Roman d’Alexandre en prose: Royal MS 15 E VI, f. 16v
This story must have circulated widely in England. In one manuscript of the Festial by John Mirk of Shropshire (1382–1414), the homily for the feast of the Nativity of John the Baptist describes how bones and wood are used in making St John’s fire (Harley MS 2417, f. 42r). Mirk then adds a long digression on the origins of fire in ‘that countrey of grete hete’ where dragons breathe noxious gases and poison the water. This leads to a description of Alixander’s campaign in India:
...mony grete clerkes that hadden red of kyng Alysaunder how when he shulde have a batel wyth the kyng of Ynde and the kyng of Ynde browyte wyth hym mony olyfauntes beryng castels of tre (wood) on her bakkes.... Thene knewe alysau]nder the kynde (species) of olyfauntes that they dreden noo thyng moore the ȝarryng (squealing) of swyyn (swine). Therfor he made togedere all the sowes that myghte be geten and made to dryve hem so nygh the olifantes ...anoon they maden suche a ȝarryng all yfer that alle the olyfauntes flowen (fled) and casten down her castelles...
The subject then turns to dragons once again, and how they hate the stench of burning bones, so that a ‘boon fyr’ (the origin of the word, bonfire) could be used to chase them away.
Discover more about Alexander the Great by visiting the British Library's exhibition Alexander the Great: The Making of a Myth, open until 19 February 2023, or explore more online at bl.uk/alexander-the-great
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards this exhibition, as well as other trusts and private donors.
Chantry Westwell
Follow us on Twitter @BLMedieval
24 January 2023
PhD placement on Medieval Women
Are you a PhD student working on topic relating to medieval women? We are now advertising an opportunity to do a placement with us in the Ancient, Medieval and Early Modern Manuscripts section at the British Library in 2023.
The student will assist us with preparing for the British Library's Medieval Women exhibition. The exhibition, scheduled for October 2024–February 2025, will focus on recovering medieval women’s voices, visions and experiences. It will tell their history through their own words, show them through their own images, and uncover their lives through original manuscripts, documents and objects.
The student will be supervised by the lead curator of the exhibition and will assist with key tasks in its development. These will include researching particular themes, exhibits and historical figures within the exhibition, assisting with the production of the exhibition book (e.g. assembling images, proof-reading), producing promotional materials (e.g. writing blogposts and content for the Library’s website) and helping to liaise with other teams at the British Library (such as Publishing, Conservation, Marketing).
This opportunity is offered as part of the annual British Library PhD Placement Scheme. Placements must take place between June 2023 and March 2024, and are offered for 3 months full-time or up to 6 months part-time.
The scheme is open to all current PhD students registered with a UK university. International PhD students are eligible to apply, subject to meeting any UK visa/residency requirements. Please visit our call for applications page for more information and details on how to apply.
The deadline for applications is 5pm on Monday 20 February 2023.
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21 December 2022
Chi-rho pages for Christmas
It’s not something you’ll find on your average Christmas card, but the Chi-rho is a Christmas symbol that appears in some of the oldest surviving gospel-books. One of the most spectacular examples is the Chi-rho page in the Lindisfarne Gospels, which is now on display in the British Library’s Treasures Gallery. But this is far from the only Chi-rho page in the Library’s collection. With Christmas just around the corner, we think it’s the perfect time to celebrate some of our festive Chi-rhos and their rich meanings.
What is a Chi-Rho page?
Chi-rho pages are a feature of Insular gospel-books. These are copies of the biblical accounts of the life of Christ in Latin, produced within the monastic culture that developed in Ireland, Britain and closely connected centres in the 7th-8th centuries (known as Insular in reference to ‘the Isles’).
The Chi-rho is the abbreviated name of Christ in Greek, spelled chi-rho-iota and written with the capital letters ‘X-P-I’. In Insular gospel-books there is a large decorated Chi-rho at the beginning of the account of the Incarnation at Matthew 1:18, ‘Christi autem generatio sic erat’ (Now the birth of Jesus Christ was in this way). In the most magnificent examples like the Lindisfarne Gospels, made in Northumbria in the early 8th century, the letters fill almost the entire page with brilliant pattern.
History of the Chi-rho page
The practice of abbreviating divine names, or nomina sacra, goes back to at least the 2nd century, when letters representing the name of Christ were employed as Christian symbols. Nomina sacra were commonly abbreviated in early Greek bibles as a way of showing reverence and making them stand out visually. For example, in the 6th-century Greek gospel-book the Codex Purpureus Petropolitanus (Cotton MS Titus C XV), the main text is written in silver ink while the nomina sacra are abbreviated and written in gold. Insular Chi-rho pages took this much older practice and expanded it to make the sacred name a major focus of decoration.
The earliest surviving Chi-rho pages date from around 700, and they appear in gospel-books from Ireland, England and areas where Insular scribes were working or had strong influence. By contrast, most gospel-books produced in continental Europe followed the late antique practice of placing no or very little emphasis on the text of Matthew 1:18.
An interesting example of a continental gospel-book which has a Chi-rho page is the Schuttern Gospels (Add MS 47673), made at the Benedictine abbey of Schuttern in southwest Germany in the early 9th century. Schuttern was one of many monasteries in the Upper Rhine and Lake Constance area founded by Irish monks in the 7th century. Liutharius, the deacon who wrote the Schuttern Gospels, was probably a local judging by his name, and he wrote in a Carolingian minuscule script. Nevertheless, the decoration of the manuscript is strongly Insular, suggesting that the monastery’s early history still held major influence in its scriptorium.
Although Chi-rho pages stopped appearing in English gospel-books after about the 8th century, they continued in other areas until much later. One of the latest surviving Chi-rho pages is in the Gospels of Máel Brigte (Harley MS 1802), made in Armagh, Northern Ireland, in 1138. You can read more about this fascinating manuscript, written by the 28-year-old scribe Máel Brigte and illuminated in an Irish-Scandinavian style, in our previous blogpost.
Symbolism of the Chi-rho page
Coming at the beginning of the narrative about Christ’s birth in the Gospel of Matthew, the Chi-rho is generally seen as a symbol of Christ’s Incarnation, or human conception and birth. In the Gospel of John the Incarnation of Christ is mystically described as the moment when ‘the Word was made flesh and dwelt among us’ (John 1:14). By emphasising the word ‘Christ’ at the beginning of the Nativity account, the Chi-rho can be seen to literally illustrate the idea of the Word becoming flesh, especially since Insular gospel-books were written on parchment made from animal skin.
Yet the Chi-rho is also particularly evocative because the letter chi is in the shape of a cross, so it could signify both Christ’s name as well as his Crucifixion and its redemptive power. For Christians, the human birth of Christ is significant because it meant that he could die a human death and so save humanity from sin. Through its shape the letter chi poignantly connects these two important events.
The idea that the Chi-rho symbolises the living Word and the life-giving Cross perhaps explains why Insular Chi-rhos are often teeming with life. For example, in this gospel-book, made in Brittany in the early 10th-century and digitised by the Polonsky Foundation England and France Project (Royal MS 1 A XVIII), animal heads with foliage sprouting from their mouths emerge from the end of each stroke of the letter chi. This gives the impression that the letter is bursting with life and abundance.
A cryptic symbol
Greek was not widely known in western Europe in the early Middle Ages. Both the use of Greek letters and abbreviation made the Chi-rho difficult to understand. This cryptic quality was probably part of its appeal, suggesting the mysterious nature of God. The Chi-rho was not simply a word but a symbol of something inexpressible.
Nevertheless, the Chi-rho proved too enigmatic for some scribes and readers, as shown by the garbled Chi-rho in a gospel-book made in Northumbria in the first half of the 8th century (Royal MS 1 B VII). Here it seems that the scribe mistook the Greek letter rho for a Latin letter ‘P’, and transliterated it to the Greek letter pi (Π). They also wrote the letter ‘H’ instead of ‘A’ at the beginning of the Latin word autem, perhaps misunderstanding the Irish convention of spelling the word with an added ‘h’ at the beginning, as hautem. The result is that instead of ‘XPI AU/tem’, the scribe has written ‘XΠI HU/tem’ – a string of letters that make no sense.
Discover more
The Chi-rho page also stars on the front cover of the newly published book about the Lindisfarne Gospels: Eleanor Jackson, The Lindisfarne Gospels: Art, History and Inspiration (London: British Library, 2022). Written by the British Library’s Curator of Illuminated Manuscripts, the book is an accessible introduction to the production, decoration and history of the manuscript. It is fully illustrated in colour and is available from the British Library Shop.
Looking at these majestic Chi-rho pages, we can get a sense of some of the awe, mystery and joy with which monastic scribes and readers regarded the birth of Christ many centuries ago. From everyone in the Medieval Manuscripts team, we wish you a very Happy Christmas!
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Part of the Polonsky Digitisation Project
15 December 2022
The Lindisfarne Gospels back at the British Library
The Lindisfarne Gospels is back on display in the Sir John Ritblat Treasures Gallery at the British Library, following its loan to the Lindisfarne Gospels exhibition at the Laing Art Gallery in Newcastle from 17 September to 3 December 2022. The exhibition in Newcastle, which was the culmination of a year-long programme of cultural events across the North East, attracted over 56,000 visitors. You can read more about the exhibition in our previous blogpost.
The Lindisfarne Gospels is now on exhibition at the British Library showing the Chi-rho page, a particularly appropriate display for Christmastime. The Chi-rho is the abbreviated Greek name of Christ, spelled Chi-rho-iota, or ‘XPI’. In some early Latin gospel-books, including the Lindisfarne Gospels, there is a large decorated Chi-rho at the beginning of the account of the Incarnation at Matthew 1:18, Christi autem generatio sic erat (‘Now the birth of Jesus Christ was in this way’).
In the Lindisfarne Gospels, the Chi-rho fills up almost the entire page. The insides of the letters are dense with knotted birds and interlace, while the outsides spin with an almost cosmic display of swirls. The letter chi looks as though it is leaping across the page on lithe legs, leaving trails of spirals in its wake – a jump for joy in honour of Christ’s birth.
The Chi-rho page also stars on the front cover of the newly published book about the Lindisfarne Gospels: Eleanor Jackson, The Lindisfarne Gospels: Art, History and Inspiration (London: British Library, 2022). Written by the British Library’s Curator of Illuminated Manuscripts, the book is an accessible introduction to the production, decoration and history of the manuscript. It is fully illustrated in colour and is available from the British Library Shop.
You can also view the Lindisfarne Gospels online on the British Library’s Digitised Manuscripts website, and keep an eye on the blog for more Christmassy Chi-rho content coming soon!
Follow us on Twitter @BLMedieval
25 October 2022
How King Henry VIII read the Psalter
A new exhibition The Tudors: Art and Majesty in Renaissance England has recently opened at the Metropolitan Museum of Art in New York City. The exhibition showcases the artistic legacy of the Tudors and reveals how England became a thriving home for the arts as the Tudor monarchs increasingly used imagery to legitimise and define the dynasty.
Among the magnificent array of paintings, tapestries and sculptures, visitors will have the opportunity to see five items from the British Library, including Henry VIII’s personal Psalter, which has been loaned to the United States for the first time.
The Psalter was commissioned by the King himself in 1540 and written and illustrated for him by Jean Mallard, a French scribe and illuminator. It is a lavish production and is still in its original binding, which although quite threadbare, retains traces of deep red velvet. The Psalms are written in an elegant, humanist script and accompanied by exquisitely decorated initials showing birds, insects, fruit, flowers and foliage.
But the Psalter’s true significance lies in its main illustrations, four of which depict Henry, and its annotations written by the King. Taken together, they demonstrate that by the 1540s Henry perceived himself as King David of the Old Testament who, according to tradition, composed the Psalms and whose story was used to justify Henry’s declaration of independence from Rome and to define the Royal Supremacy. It’s little wonder then that the Psalter is more heavily marked up than any other manuscript owned by the King. His copious handwritten notes provide evidence of him probing and contemplating the Psalms, eager to discover what they had to teach him in his new role as ‘Supreme Head on earth of the Church of England’.
Visitors to the Met’s exhibition will see the Psalter displayed open at the first Psalm, which is accompanied by an image of Henry portrayed as David. He is shown sitting in his bedchamber, diligently reading and following the guidance of Psalm 1, which begins ‘Blessed is the man who hath not walked in the counsel of the ungodly … his will is in the law of the Lord.’ To reinforce the point that he considered himself one of the blessed who, as the Psalm instructs, meditate day and night on the law of the Lord, Henry commented ‘nota quis sit beatus’ (note who is blessed).
The Psalter contains another three illustrations that link Henry with King David. The second, which prefaces Psalm 26, shows David about to slay Goliath. David is recognisable as Henry, while Goliath is modelled on Pope Paul III, who had excommunicated Henry in 1538. Contemplating this image, which represents the liberation of England from papal authority, must have given the King great satisfaction. The titulus or explanatory gloss added by Mallard in the margin reads ‘Christi plena in Deum fiducia’ (Christ’s full trust in God). One of Henry’s distinctive ‘tadpole’ signs draws attention to the words. They would certainly have resonated with Henry, who was convinced that his enemies would be sought out and destroyed because, like David, he put his trust in the Lord.
Psalm 52 is accompanied by an illustration of Henry sitting in his Privy Chamber and playing a harp to identify him with the Psalmist. He is accompanied by his jester Will Somers, with whom he enjoyed a close relationship for more than two decades. Appearing rather dejected, the royal fool looks out of the picture towards the first verse of the Psalm, which tells us ‘The fool says in his heart, “There is no God”’.
The image accompanying Psalm 68, which begins ‘Salvum me fac’ (Save me, O God), illustrates an episode in the Bible when David is forced to choose between three terrible punishments for his sinful behaviour. The image shows Henry VIII as a penitent King David, kneeling in supplication among the ruins. Mallard’s titulus, which translates as ‘In his distress Christ invokes God’, reminds the reader that David’s torment prefigures that of Christ in the Garden of Gethsemane.
Several of Henry’s annotations also show him identifying with the Old Testament King and searching for guidance. One of the clearest examples is found next to Psalm 88. Using red crayon, Henry noted that the Psalm contains ‘the promise made to David’ and uses a wavy line and tadpole sign to highlight the verses ‘I have laid help upon one that is mighty, and have exalted one chosen out of my people. I have found David my servant, with my holy oil I have anointed him.’
A small number of Henry’s annotations, however, reveal more human concerns. One of the most poignant is found alongside the first half of verse 25 of Psalm 36 which reads: ‘I have been young and now I am old’. Henry, who was in his early fifties, very overweight and in poor health, must have been painfully aware that his time on earth was drawing to a close, and noted that this is ‘dolens dictum’ (a painful saying).
You can see this fascinating manuscript in person at The Tudors: Art and Majesty in Renaissance England which runs at The Metropolitan Museum of Art in New York until 8 January 2023, or view it online at our Digitised Manuscripts website.
Andrea Clarke
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06 October 2022
Panizzi Lectures – Drawing Conclusions: Diagrams in Medieval Art and Thought
The British Library is delighted to announce the 2022 Panizzi Lecture series which will be given by Jeffrey Hamburger on Drawing Conclusions: Diagrams in Medieval Art and Thought.
Diagrams constitute an omnipresent feature of medieval art and thought. From Antiquity onwards, the forms and procedures of geometric reasoning held a privileged place in the pursuit of truth, the understanding of which remained closely linked to ideals of beauty and perfection.
Drawing on the collections of the British Library, whose holdings provide virtually comprehensive coverage of all ramifications of the diagrammatic tradition, this series of lectures examines the practical, theoretical and aesthetic dimensions of medieval diagrams as matrices of meaning and patterns of thought informing diverse areas of medieval culture.
The lectures will be held in person at the British Library and also live streamed, thanks to the generosity of Jonathan A. Hill, Bookseller.
Lecture 1 : 24th October. Maps of the Mind: Diagrams Medieval and Modern.
Lecture 2: 27th October. The Codex in the Classroom: Practical Dimensions of Medieval Diagrams.
Lecture 3: 1st November. Poetry, Play, Persuasion: The Diagrammatic Imagination in Medieval Art and Thought. Followed by a drinks reception.
Booking is free but required for both in person and online attendance.
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27 September 2022
Lindisfarne Gospels exhibition opens in Newcastle
The British Library has loaned the Lindisfarne Gospels to the Laing Art Gallery in Newcastle upon Tyne, for an exhibition that runs until 3 December 2022.
The manuscript is displayed to show the spectacular decoration at the beginning of the Gospel of John. On the left-hand side is one of the book’s five densely painted carpet pages, all based on the shape of a cross. On this page, the decoration is centred on an equal-armed cross, filled with yellow interlace. The grid of geometric panels on the page is surrounded by a dense network of interlaced birds painted in pink, red, blue and yellow, set against a black ground. The bright green background of the four rectangular panels contrasts with the palette of the rest of the page.
On the facing page are the opening words of the Gospel of John in Latin, ‘In principio erat verbum et verbum erat apud deum…’ (‘In the beginning was the Word, and the Word was with God…’). The first three letters of the text form an intricately elaborated ‘INP’ monogram which dominates the page. Some of the letters on this page end in a spiral, interlace, or the head of a bird, but the letter ‘C’ in principio ends in the head of a man with long blond hair. Other than the portraits of the four evangelists, this is the only human depicted in the manuscript.
You can read more about the Lindisfarne Gospels and see full digitised coverage of the whole manuscript on our website.
The British Library has also loaned three other manuscripts to the exhibition, including the St Cuthbert Gospel (Add MS 89000), which the Library acquired in 2012 with the support of many donors including the National Heritage Memorial Fund and the Art Fund. It is displayed in Newcastle alongside the pectoral cross from the Staffordshire Hoard which was discovered in 2009 and is on loan from Birmingham Museums Trust and the Potteries Museum and Art Gallery, Stoke-on-Trent.
Also on loan from the British Library to the exhibition in Newcastle are the Tiberius Bede, containing Bede’s Ecclesiastical History of the English People (Cotton MS Tiberius C II) and an Irish pocket gospel-book (Add MS 40618) which is displayed alongside the Mac Durnan Gospels on loan from Lambeth Palace Library.
The loan of the Lindisfarne Gospels to the Laing Art Gallery marks the sixth loan of the manuscript and the fifth time that it has been on exhibition in the North East of England. It has been displayed twice before in the Laing Art Gallery in Newcastle, in 1996 in the exhibition, ‘Treasures from the Lost Kingdom of Northumbria’, and again in 2000 to mark the millennium. It was also displayed in Durham Cathedral in 1987 as part of the celebrations for the 1300th anniversary of the death of St Cuthbert, and in Durham University’s Palace Green Library in 2013.
The British Library’s Curator of Illuminated Manuscripts, Eleanor Jackson, has written a new book, The Lindisfarne Gospels: Art, History and Inspiration (London: British Library, 2022), to coincide with the loan of the Gospels to Newcastle. The book is an accessible introduction to the production, decoration and history of the manuscript. It is fully illustrated in colour and is available from the British Library Shop, along with a new pack of 16 Lindisfarne Gospels postcards.
The Laing Art Gallery is also showing a short film which Turner-prize-winning artist Jeremy Deller has produced in response to the loan of the Lindisfarne Gospels to Newcastle. The film, entitled ‘The Deliverers’, is free to view at the Gallery this autumn.
Downstairs, in the Gallery’s Marble Hall, is the display, These Are Our Treasures. This free exhibition, featuring treasured objects belonging to people in the North East of England, is the result of a project led by artist Ruth Ewan. Each treasured object is displayed alongside an account of its story, as told by its owner.
The Gallery is holding a series of talks during the Lindisfarne Gospels exhibition, and other organisations across the North East are running a programme of events. This programme includes Illuminated Sheep in Northumberland, and an exhibition, Sharing Stories, at Newcastle City Library which focuses on modern children’s stories, and includes loans from the British Library and Seven Stories in Newcastle.
The Lindisfarne Gospels exhibition at the Laing Art Gallery in Newcastle is open daily from 10.00am to 7.30pm until 3 December 2022, and tickets are available to book online.
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