04 April 2016
Isidore of Seville's Etymologies: Who's Your Daddy?
Isidore of Seville died on this day in 636. Isidore, who was born in 560, was the bishop of Seville from about 600 to his death. He is better known, however, as an author than as an administrator. His most famous work is the Etymologies, a vast reference work, which functioned as an etymological encyclopaedia. The text was highly influential throughout the Middle Ages. It represents Isidore’s ambitious attempts to condense a huge body of knowledge into a single work.
Hedgehogs feed their young from a Bestiary attached to Isidore of Seville's Etymologies, c 1200-c 1210, Northern or Central England, Royal MS 12 C XIX, f. 8v
As well as containing information on a range of subjects, like mathematics, canon law, philosophy, the human body, geography, ship-building, weights and measures and rhetoric, it also has some excellent (and highly dubious) zoological information. According to Isidore, hedgehogs feed their young by visiting vines, plucking the grapes from the plant and rolling over them in order to impale them on their spines. In the image above we can see the hedgehog doing a sterling impression of a 1970s canapé tray.
Diagrams of the path of the Sun and the phases of the moon; from Isidore of Seville, Etymologies, England, last quarter of the 11th century, Royal MS 6 C I , f. 30r
Given its ambitious scope, many manuscripts of the work contain a complex extra-textual apparatus to help readers navigate the work. You can see an example of this apparatus – in this case a table of contents – in a ninth century copy of the work, below. (This is not the only ninth century copy held by the library: Harley MS 3941 has also been digitised.) It is for this reason that Pope John Paul II nominated Isidore to be the patron saint of the internet. Isidore is the perfect candidate. Like the internet, his Etymologies contains a large body of information which requires a complex searching mechanism to help you find information about medicine or law or just cool stuff about hedgehogs.
Table of contents, Isidore of Seville’s Etymologies, Northern France, 9th century, Harley MS 2686, f. 5r
A particularly striking example of a 'search function' in one copy of the work-- an eleventh-century manuscript (Royal MS 6 C I), probably copied at St Augustine's Abbey in Canterbury-- is the affinity diagrams, laying out the relationships within members of a family. Who exactly is your second cousin twice removed? Fortunately for the reader, a simple chart should sort out the confusion. 'The grandfather of my paternal uncle,' it reads across one line, 'is my propatruus, and I am to him the niece or nephew of his son or daughter'. Relationships are labelled with both the terms for the relative and the term by which he or she would refer to the reader: both grandfather and grandson, both uncle and nephew (or niece!). Just as the world has been diagrammed, so have the intricacies of the family tree.
Chart of familial affinities, from Isidore of Seville, Etymologies, England, last quarter of the 11th century, Royal MS 6 C I , f. 78r
The Etymologies is also famous for its sometimes quirky explanations of the history of words. In some cases, when Isidore takes the word apart based on what it sounds like, the explanation that results can be extremely engaging, if not necessarily true. The Latin word for 'beggar' (mendicus) is now believed to derive from an earlier word meaning 'deformity' or 'lack'. Isidore, however, speculates a much more charming story, of a 'custom among the ancients' to 'close the hungry mouth and extend a hand, as if speaking with the hand' (manu dicere).
Etymologies of words beginning with F and G; from Isidore of Seville, Etymologies, Book 10, England, last quarter of the 11th century, Royal MS 6 C I , f. 82r
In other cases, Isidore’s etymologies, while colourful, are spot-on. The one he gives for the words Fornicarius and Fornicatrix (male and female prostitute) explains that these terms come from the Latin word for 'arch' (fornix), and refers to the architecture of ancient brothels. Prostitutes were understood to lie under such arches while practising their trade. This is the same explanation for the word 'fornicate' offered in the Oxford English Dictionary today!
T-O map of the world, with east at the top, from Isidore of Seville, Etymologies, England, last quarter of the 11th century, Royal MS 6 C I , f. 108v
Isidore's work had an immense influence on later medieval thinkers across Europe. For example, Isidore was the first to explain the layout of the continents in what would become the classic medieval schema, the T-O map. The world is round, with Jerusalem its spiritual as well as geographical centre, standing at the convergence between the three known continents of Asia, Europe and Africa.
Opening page from Isidore of Seville, Etymologies, Low Countries (Munsterbilsen), c. 1130-1174, Harley MS 3099, f. 1v
Isidore's influence is also suggested by the number of copies of the Etymologies which survive, from every century of the medieval period, across Europe, copied by diverse scribes. We now have no less than ten manuscripts of Isidore's Etymologies available on our Digitised Manuscripts website. As well as those listed above, you can also see Harley MS 3099, which was, somewhat unusually, copied by eight female scribes (see image above). They were Benedictine nuns in the Abbey of Munsterbilsen near Maastricht (now Belgium), working in the period 1130-1174.
Excerpt from Isidore of Seville, Etymologies, Northern France, late 8th century, Cotton MS Caligula A XV, f. 37r
The earliest digitised copy is Cotton Caligula A XV which dates from the 2nd half of the 8th century and was made in Northern France. Alongside this, you can see a late 11th-century version (Royal MS 6 C I), an early 12th-century copy (Harley MS 2660), made in the Rhineland , a mid 13th-century copy, Harley MS 6 and our youngest digitised manuscript, which is a mere five centuries old Harley MS 3035.
- Nicole Eddy, updated by Mary Wellesley
02 April 2016
A Calendar Page for April 2016
For more information about the Bedford Hours, please see our post for January 2016; for more on medieval calendars in general, our original calendar post is an excellent guide.
Calendar page for April from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 4r
Spring is well underway in the Bedford Hours calendar pages for April.
Detail of miniatures of a man gathering leaves and the zodiac sign Taurus, from the calendar page for April, Add MS 18850, f. 4r
At the bottom of the first folio is the standard (for this manuscript) two-part miniature. On the left, a man is carrying a leafy young tree past a flowing river, having presumably just trimmed the branches from the stump before him. He is well dressed for a labourer, wearing a fur-lined surcoat and carrying a long dagger on his belt. To his right is a bull for the zodiac sign Taurus, enjoying a lie-down in the sun.
Detail of a marginal roundel of Venus, from the calendar page for April, Add MS 18850, f. 4r
The marginal roundel at the right, however, displays the true central figure for the month of April – Venus, the goddess of love. The accompanying verses tell us that April was dedicated to Venus by the pagans, because Venus (the planet) is a ‘hot and moist and drenched planet’, much like the month of April.
Calendar page for April, Add MS 18850, f. 4v
The emphasis on Venus and April continues on the following folio. Alongside the conclusion of April’s saints’ days are two roundels relating to the goddess. On the middle left is a scene of the abduction of Proserpina (Persephone) in a cart drawn by two horses. According to mythology this abduction was ultimately instigated by Venus, who envied the young girl’s beauty and ordered her son, Eros, to loose his arrows so that all would be smitten with love for her, leading ultimately to Proserpina being carried down into the depths of Hades.
Detail of marginal roundels of the abduction of Proserpina and a flower festival, from the calendar page for April, Add MS 18850, f. 4v
The bottom roundel shows a more genial scene, illustrating, as the rubrics tell us, ‘how in April the pagans had a festival for the goddess of flowers.’
- Sarah J Biggs
01 April 2016
Fool’s Paradise
It’s that time of the year when lambs frolic in the fields, British summertime begins, and people play practical jokes on their friends. Of course, the British Library’s Medieval Manuscripts team has never succumbed to the temptation of perpetrating an April Fool. All of our stories published on this most auspicious day have been 100% genuine like, um, the discovery of the unicorn cookbook, the one about the Loch Ness Monster, and the time we spotted a spaceship in a medieval Book of Hours.
(Left) Detail of a miniature of a fool, from Bible Historiale, Paris and Clairefontaine, 1411, Royal MS 19 D III, f. 266r (Right) Detail of a miniature with a jester, from Laurent de Premierfait’s translation of Giovanni Boccaccio’s De casibus virorum illustrium (Des cas des ruynes des nobles hommes et femmes), Bruges, c. 1479-80, Royal MS 14 E V, f. 5r
Here are some amusing facts about medieval fools and jesters with which to impress your friends. How many of these did you already know?
1. The origins of the April Fool are lost in the mists of time. It has recently been suggested that the first April Fool’s joke may have been played by Gaston Le Faux (his name translates as ‘the False’), a 13th-century French troubadour. Gaston is reputed to have disguised himself as a fish and hidden under a platter at a banquet, in order to impress the ladies. The reaction of the onlookers is undocumented, as is Gaston’s own fate, but to this day the French still cry “poisson” whenever they play a practical joke on April Fool’s Day.
2. Modern stereotypes about medieval 'fools’ and ‘jesters’ are often derived from playwrights and novelists such as William Shakespeare and Victor Hugo (who notably imagined the ‘Feast of Fools’ in his Hunchback of Notre Dame).
Kenneth Wicksteed as Touchstone in Shakespeare's As You Like It (Stratford-upon-Avon, 1932)
3. The medieval entertainers we know as ‘jesters’ were mostly storytellers, minstrels and musicians. Chaucer mentions ‘All manner of minstrales, And jestours, that tellen tales’ in his House of Fame.
(Left) Detail of a juggler representing the third musical mode, from Gradual of Saint-Etienne of Toulouse, c. 1075-1125, Harley MS 4951, f. 298v (Right) Detail of a musician representing the second musical mode, Harley MS 4951, f. 297v.
4. In medieval Denmark, people often dressed as trees and bushes to ward off madmen and evil spirits on April Fool's Day.
5. Depictions of fools are often found in illustrated Psalters, inspired by the story of King David and the fool. This tale appears in the first Old Testament book of Samuel and describes the mistakes of the ‘foolish’ rich man Nabal, who refused to give provisions to David and his men, and was later struck down by the Lord for his folly.
Detail of the historiated initial 'D'with David and a fool at the beginning of Psalm 52, from the Rutland Psalter, London?, c. 1250, Add MS 62925, f. 56r
6. Not everybody likes April Fool jokes. In 1569, the Archbishop of Prague preached a sermon at St Vitus Cathedral, denouncing clowns and other pranksters as 'weasels, vipers, and worse than moles'. He was subsequently pelted by his congregation with tomatoes and rotten food, before being escorted back to his palace by the bodyguard of the King of Bohemia.
A star-nosed mole, the unintentional target of the Archbishop of Prague's vitriol
7. The most famous early modern image of a fool is found in the Psalter of Henry VIII at the British Library, at the beginning of Psalm 52. This shows King Henry himself, styled as King David, and his fool, Will Sommers, as Nabal.
Miniature of David and the Fool, from the Psalter of Henry VIII, England (London), c. 1540-1541, Royal MS 2 A XVI, f. 63v
No doubt, Will Sommers and other jesters and fools would be smiling proudly at all the tricks played throughout the world today.
Historiated initial with a fool, from the Great Bible, London, c. 1400-25, Royal MS 1 E IX, f. 148r
Detail of the historiated initial 'D'(ixit) with David and a fool at the beginning of Psalm 52, from the Howard Psalter, East Anglia, c. 1308-40, Arundel MS 83 , f. 40v
Drawing of a pig playing bagpipes, a jester showing his genitals, a man blowing a flute or pipe, and various hybrid creatures, from Pseudo-Aristotle, De caelo, De anima, England, 1487, Sloane MS 748, f. 82v
~ The Medieval Manuscripts Team
28 March 2016
Updated List of Digitised Manuscripts’ Hyperlinks
What are these Easter bunnies (or hares) hurrying towards?
Detail of hares, from Roman de la Rose, France, c. 1325-1375, Add MS 31840, f. 3
An updated list of all the early and medieval manuscripts digitised in full by the British Library! Every quarter, we try to publish a list of all the medieval manuscripts uploaded to the British Library’s Digitised Manuscripts website. The most recent list can be found here: Download List of Digitised BL AMEMM Manuscripts by Shelfmark, March 2016. And, by special request from our friends on Twitter, a list of manuscripts with the most recent digitisations at the end can be found here: Download List of Digitised BL AMEMM Manuscripts with More Recent Uploads at the End, March 2016.
Riddle about an elephant, from Aldhelm’s Riddles, England (Canterbury?), c. 970-1020, Royal MS 12 C XXIII, f. 100v
Particular highlights uploaded in the past three months include:
5 illustrated copies of the book of Apocalypse (or Revelation)
All 4 of the British Library’s copies of the Anglo-Saxon Chronicle
More than 3 manuscripts of the Roman de la Rose
2 collections of material related to the cult of St Cuthbert
One 1,000-year-old collection of riddles (Royal MS 12 C XXIII).
The one and only copy of the Dialogue de la Duchesse (Add MS 7970)
Miniature of Christ appearing to Margaret of York, from the Dialogue de la Duchesse, Low Countries (Brussels), c. 1468-1477, Add MS 7970, f. 1v
With several different digitisation projects under way, new manuscripts are regularly uploaded to Digitised Manuscripts. In order to get the latest news about our digitisation, please consult our Twitter page, www.twitter.com/blmedieval, where we announce the most recent uploads to Digitised Manuscripts.
Happy Viewing!
Related Content:
Anglo-Saxon Digitisation Project Now Underway
25 March 2016
Kassia: A Bold and Beautiful Byzantine Poet
It’s Women’s History Month and to celebrate we are running a series of posts about medieval women. Today’s focus is an enigmatic poet who lived in 9th-century Constantinople. Kassia (b. 805/810, d. 843x867) was courageous, highly educated and beautiful. She was so beautiful, in fact, that the Emperor of Constantinople - Emperor Theophilus (d. 842AD) - wanted her as his wife. Not taken with the idea of becoming Empress, Kassia rejected his advances and chose instead to become an abbess and poet.
Kassia came from a noble family and was well-educated. In a letter to her, Theodore the Studite (d. 826) - one of the most important theologians of the 9th century - wrote that he was ‘astonished’ by her erudition, especially in one so young. He went on, ‘the fair form of your discourse has far more beauty than a mere specious prettiness’.
Theodore the Studite (right) from the Theodore Psalter, Eastern Mediterranean, 1066, Add MS 19352, f. 27v
Yet it was her prettiness that caught the eye of the Emperor in the year 830 CE. In this year, according to a number of Byzantine chroniclers, Kassia appeared in a ‘Bride Show’. These were events in which commissioners were sent throughout the empire to find possible wives for the Emperor and would bring them back to Constantinople to be displayed (some historians dispute whether they actually happened). According to the chroniclers, at one such show, Theophilus saw Kassia and, struck by her beauty, remarked ‘Ach, what a flood of base things come through woman’. Kassia, surefooted, replied, ‘but also from woman better things spring’. Her response – both witty and candid – espouses the Christian idea that through the Virgin Mary, Jesus brought redemption to mankind.
After rejecting the hand of the Emperor, Kassia became a nun at a convent in Xerolophos, Constantinople’s seventh hill. There she became a prolific poet and composer. Of the hundreds of hymn composers from the Eastern Church, only four women can be positively identified and only one of these – Kassia -- had her works incorporated into official service books for use in church worship. She also wrote secular works. The British Library holds a collection of her epigrams. In it she displays her sharp mind and sharp wit. She speaks disparagingly of thoughtlessness, writing, ‘There is absolutely no cure for stupidity.’ She went on, ‘knowledge in a stupid person is a bell on a pig’s snout’.
Kassia's Epigrams from Works of Demetrius Cydones and others, Eastern Mediterranean, 16th Century, Add MS 10072, f.94r
Kassia was also courageous. 9th-century Constantinople was rocked by fierce debate over the legitimacy of religious images, but just as she was unafraid to reject the advances of the Emperor, so too Kassia stood up to defend the veneration of the icons. In one of her verses she writes, ‘I hate silence when it is time to speak’. And her courage was not only demonstrated in her writing, but in her actions too. In another of his letters to her, Theodore thanks Kassia for helping one of his disciples who has been imprisoned by the authorities for his defence of icon-worship.
An image of the destruction of icons from the Theodore Psalter, Eastern Mediterranean, 1066, Add MS 19352, f. 88r
Kassia’s best known and most popular work is a hymn for Holy Wednesday, in which she gives voice to a nameless woman from the gospels. The woman appears in an episode in the gospels, whereby Christ, dining in the house of a wealthy man, is anointed by a woman (Matthew 26: 6-13; Mark 14: 3-9), whom Luke describes as having led a sinful life (Luke 7: 36-50).
The anointing of Christ's feet from Xanthopulus and Ephraem the Syrian, Eastern Mediterranean, 4th quarter of the 14th Century, Egerton MS 3157, f. 45v
A fine copy of Kassia’s poem survives in a 16th-century manuscript held by the British Library, where Kassia imagines the woman’s lament.
Kassia's Hymn for Holy Wednesday, from a collection of Hymns and Canons, Eastern Mediterranean, 16th century, Add MS 39618, f. 8v
The text reads as follows:
Woe is me, for the love of adultery surrounded me with darkness:
A lightless night of sin.
Accept the springs of my tears,
As you who disperse the waters of the sea From the clouds.
Bow down to the sighs of my heart,
As you bent the heavens, by your inapprehensible incarnation.
I kiss your purest feet and wipe them with my own tresses.
I kiss your feet whose tread Eve heard in Paradise
Where, frightened, she hid herself in fear.
Who can count the multitude of my sin and the depths of your judgment?
Wherefore, O my Saviour and the Redeemer of my soul
Do not turn away from your handmaiden, as your mercy is boundless.
(Translation modified and adapted from Anne M. Silvas, cited below.)
Hear what Kassia’s poem probably sounded like in this video. Happy Women’s History Month!
Further Reading:
Anna M. Silvas, ‘Kassia the Nun c.810-865: an Appreciation’, in Byzantine Women: Varieties of Experience 800-1200, ed. Lynda Garland (Aldershot: Ashgate, 2006), pp. 17-39.
Also In Our Series:
Justifying Women Writers: A Medieval Poet Speaks Out
Related:
01 March 2016
A Calendar Page for March 2016
For more information about the Bedford Hours, please see our post for January 2016; for more on medieval calendars in general, our original calendar post is an excellent guide.
Calendar page for March from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 3r
March sees the beginning of springtime proper, and these folios from the Bedford Hours reflect all the contradictions of the new season.
Detail of miniatures of a man cutting vines and the zodiac sign Aries, from the calendar page for March, Add MS 18850, f. 3r
At the bottom of the first folio is a miniature of a man hard at work trimming vines with an unusual-looking tool; he appears to be working in the dead of night, under a starry sky. Next to him is a rather jaunty-looking ram, for the zodiac sign Aries.
Detail of a marginal roundel of Mars, from the calendar page for March, Add MS 18850, f. 3r
The roundel in the middle right margin depicts an armoured warrior with a forked beard, holding a sword and a pike. This (literally) martial gentleman is intended to represent Mars, for as the rubric explains, ‘the pagans called the month of march after their god of war’.
Calendar page for March, Add MS 18850, f. 3v
The beauty of spring is reflected in the decoration of the March calendar pages, adorned as they are with bluebells, roses, and less realistically, golden leaves. The roundels illustrate the season further, depicting, as the rubrics tell us, how in March ‘everything becomes green’, and below, ‘how in March thunder and storms are born’.
Detail of marginal roundels of a two scenes of March weather, from the calendar page for March, Add MS 18850, f. 3v
- Sarah J Biggs
26 February 2016
Caption Competition Number 4
Sometimes we come across images that are just perfect for creative captions. Here is one from an Apocalypse manuscript which has recently been fully digitised, Harley MS 4972. It is filled with great images, including some weird hybrid concoctions. So, over to you, dear, witty readers: how would you caption this image? The winner will be announced on the blog early next week.
Detail from Apocalypse in Prose, South-east France (Lorraine), 4th quarter of 13th century- 1st quarter of the 14th century, Harley MS 4972, f. 14r
Update 26 February 2016
Thank you for all of your entries. We are delighted to announce our Caption Competition Winner!
That winner (of eternal fame in the British Library’s Medieval Manuscripts section) is M. Mitchell Marmel: "H'm. Wonder if St. Brigid can turn this into bacon?" Honorary mentions also go to those who sent us unconventional styles of captions, such as sound files.
Didn't get the joke? Read our previous post about St. Brigid's magical, alchemical abilities.
Brigid’s fire, from a manuscript of Gerald of Wales’ 'Topographia Hiberniae', Royal MS 13 B VIII, f.23v
20 February 2016
Fashion Goes Medieval
King Priam of Troy sends his son, Paris, to Greece. Grand Chroniques de France, Paris, c. 1320-30, Royal MS 16 G VI, vol. 1, f. 4v
It's that time of year. London Fashion Week began today. To celebrate, we have decided to republish an important op-ed piece we published 18 months ago. We were delighted to see some medieval inspired looks at the Dior Fall '17 couture show, which we suspect was inspired by the V&A's Opus Anglicanum show. However, we feel there is more to be made of the marriage of fashion and medieval culture.
Here’s a run-down of some looks we want to see next season.
- The Wimple/Barbette
It hasn’t been on-trend since c.1550, but we think it’s time it made a come-back. Team with killer heels for maximum impact.
Detail from La Somme le roy, France, late 13th century, Add MS 28162, f. 9v
A scalloped hem will give your wimple a more relaxed feel. Perfect for a first date.
Detail from a historiated initial, Israelites consulting the Lord, from a Bible, England, ?London, c. 1400-25, Royal 1 E IX, f. 56v
- Statement Headpieces
The fascinator has had its day. Millinery needs to get theatrical.
Detail of the queen of Macedon and her ladies from ‘Histoire d’Alexandre le Grande', Paris, late 1420s, Royal MS 20 B XX, f. 7r
Experiment with diaphanous fabrics for an improbable, wind-defying look.
Jean de Courcy is led form the Forest of Temptation by the Seven Virtues from 'Chemin de vaillance', Bruges, Master of the White Inscriptions, late 1470s, Royal MS 14 E II, f. 194r
Offset a linear silhouette with head-wear more suited to bee-keeping.
Lady out hunting, Alphonso Psalter, England, c. 1281-4, Add MS 24686, f. 13v
Even a monochrome outfit can be made to stand out with some serious underpinning.
Detail of Christine de Pizan presenting her work to Louis of Orléans from 'The Collected Works of Christine de Pizan', Paris c. 1415, Harley MS 4431, f.95r
3. Upsized Outfits
Outfits? The attire of one person? It’s starting to look at bit dated. We want to see clothing put together with an eye for a person’s surroundings. For example, stockings should be matched to the robes of nearby bishops.
The Coronation Book of Charles V of France, Master of the Coronation Book of Charles V, Paris, 1365, Cotton Tiberius B VIII f. 48r
Or your horse.
Sir Geoffrey Luttrell, mounted, being assisted by his wife and daughter-in-law, The Luttrell Psalter, Northern England (Diocese of Lincoln), c. 1325-50, Add MS 42130, f. 202v
4. The Bocking
We’re calling it the Bocking. It’s the stocking-boot. The shoe-boot (shoot) was big on the high street recently, but this year we want it to be all about the continuous sharp-toed stocking-boot.
The longer the toe, the better. Preferably so long, your shoe extends into the personal space of people nearby or over the lip of an image frame.
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(Left) Le Songe du vergier, Paris , Master of the Bible of Jean de Sy, c. 1378, Royal MS 19C IV, f 1v
(Right) Detail, Philippe de Mézières presenting his treatise to Richard II of England. Philippe de Mézières, 'Epistre au roi Richart', France, 1395-6, Royal MS 20 B VI, f.2
5. Beards: Bigstyle.
The hipster beard is big right now, but it can be bigger. Think beard meets onesie.
A Wildman (Wodewose) from the Genealogy of the Infante Dom Fernando of Portugal, Lisbon and Bruges, Antonio de Holanda and Simon Bening, 1530-4, Add MS 12531 f. 1
~ Mary Wellesley
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