27 September 2021
A figured poem
The poem De Laudibus sancte crucis (In Praise of the Holy Cross) is the work of Rabanus Maurus (b. 780/781, d. 856), one of the greatest teachers and scholars of the Carolingian age. Rabanus Maurus was in charge of the imperial abbey school of Fulda in central Germany, and he was later archbishop of Mainz. While in Fulda, he composed this poem which comprises a set of verses where the words both embody and celebrate the cross, drawing on an Antique tradition of arranging words and phrases within figures.
A number of copies of this work survive, including one made in the Premonstratensian Abbey of St Mary and St Nicholas, Arnstein, in around the 1170s, now in the Harley collection in the British Library (Harley MS 3045). In all but one copy, the figured poem or carmina figurata is on the left, with an explanatory commentary in prose on the right-hand page. Most of the figures are in the form of a cross.
Rabanus Maurus dedicated one of his copies to Louis the Pious, King of the Franks and Emperor of the West from 814 to 840, and this dedication and image of the king is preserved in later copies. In the Harley copy, for example, Louis is depicted as a miles Christi (soldier of Christ), at the beginning of the work, with a cross, a shield and a halo. The inscriptions place the Emperor under the protection of Christ, while recalling his role as a defender and promoter of the Faith.
Some of the figures are in the form of letters rather than images, as in this one, which includes the words ‘Crux’ (cross), reading downwards, and ‘Salus’ (salvation), reading across. This poem is about angels, and the names of some of them are included in the figured letters. For example, the ‘u’ (shaped as a ‘v’) of Crux is formed from the word ‘arcangeli’ (archangels).
The author included an image of himself as well, portrayed as a kneeling monk below an image of a cross. His identity is made clear by the inclusion of his name ‘Rabanus’ in red letters visible on his face and habit.
Another elegant copy of De Laudibus sancte crucis was made in the abbey of St Germain des Prés in Paris around the middle of the 11th century (now Paris, BnF, MS latin 11685). This manuscript was digitised recently as part of The Polonsky Foundation Medieval England and France 700-1200 project.
You can can also find out about some of the other manuscripts made in Arnstein in our previous blogpost about the Arnstein Bible.
Kathleen Doyle
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Part of the Polonsky Digitisation Project
24 September 2021
The Green Knight: the movie and the manuscript
What's the first thing that you think of when you hear the words 'the Green Knight'? Is it the new Hollywood movie starring Dev Patel, Joel Edgerton and Alicia Vikander, which has its UK release on 24 September? Or, if you are a medieval nerd, is it the unique manuscript of Sir Gawain and the Green Knight that we look after at the British Library?
We haven't yet seen the film (have you booked your tickets yet?) but the 14th-century manuscript is available to view in full online, and it is also currently on display, for free, in the Treasures Gallery at the British Library. Its full-page illustrations have a charm all of their own, even if they were once dismissed as 'coarsely executed'. Take, for instance, the scene shown below, which prefaces the poem (Cotton MS Nero A X/2, f. 94v). At the top of the page, Sir Gawain (dressed in red and holding an axe) is addressing King Arthur and Queen Guinevere at their distinctly un-round table. Below, the Green Knight mounted on his green horse holds his severed head aloft, in front of a clearly bemused Gawain.
There are three further illustrations accompanying the text of Sir Gawain and the Green Knight, all painted in the same palette and in which all the characters have identical features and hairstyles. These illustrations follow one another in sequence at the end of the poem (ff. 129r, 129v, 130r). First, we have Bertilak's lady entering Gawain's bedchamber in order to seduce him (f. 129r). She is wearing what seems to be a turban and a brightly spotted dressing gown. Gawain is swathed, quite fittingly, in a green blanket.
Then we have the scene of Sir Gawain (on horseback) and the Green Knight (wielding the axe) before the Green Chapel (f. 129v). It has to be said that this particular page is exceedingly green, with the odd hints of other colours to delineate Gawain and the Green Knight's blond hair.
Finally, a kneeling Gawain is shown being greeted by Arthur and Guinevere beneath a dark blue canopy (f. 130r). The perspective of the three figures at the rear is disproportionate to that of Gawain before them and the paint, it has to be said, has been applied rather thickly. But the king and queen's expressions say it all: Gawain has accomplished his challenge and has saved the honour of King Arthur's court.
There are some wonderful still images of The Green Knight movie available on the IMDb website. The costume design of Gawain (played by Dev Patel) and the Green Knight (played by Ralph Ineson) clearly owes nothing to their medieval counterparts. But we love their distinctive headdresses — Dev Patel shown below looks a tad like a Sun King — and the sheer menace on the Green Knight's face. The image of the Green Knight riding into King Arthur's court (featuring, incidentally, a very round-looking table) makes our hairs stand on end. There may be little in common with the image in the unique medieval manuscript, but they both convey a similar mood. This is a moment of wonder, of real danger, and of enticing mystery. We hope the film lives up to expectations. Never has it been more appropriate to declare, "Off with his head!"
All film images courtesy of IMDb.com, and as used in other reviews of the movie
Julian Harrison
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23 September 2021
Dragons, heroes, myths and magic
Legends and stories have always been part of our human experience – tales of terrifying creatures, star-crossed lovers and impossible quests have been adapted and invented by storytellers and bards across cultures and millennia. The Middle Ages was no exception and manuscripts containing stories are among some of the most beautifully illustrated in our collections. A number of these are currently on display in our Treasures Gallery - which is once again open to the public - and are the subject of a new book, Dragons Heroes Myths and Magic by Chantry Westwell, published this week by the British Library.
A love story
One of the most famous literary love stories is between Dante Alighieri, Italian poet and author, and his muse Beatrice. To commemorate the 700th anniversary of Dante’s death, a magnificent copy of the Divine Comedy is displayed, open to an illumination in the third book, Paradiso, showing Dante and Beatrice floating upwards to heaven. Very little is known about their relationship, but it seems they met only once or twice before Beatrice died aged only 24. In his poem to her, the Vita Nuovo, Dante promises to create a work that will be worth of her memory. He achieves this in the Divine Comedy, one of the greatest poetic works of all time.
Having experienced the torments of hell and the suffering of purgatory, Dante is guided through the realms of heaven by Beatrice, finally reaching the Celestial Rose, where the Holy Trinity is surrounded by the nine orders of angels. Dante looks into the Eternal Light and his soul becomes one with God. To discover more, see our recent blogpost on Dante in our collections.
Stories of famous women
In the display case beside Dante is Christine de Pisan’s ‘Book of the Queen’, a collection of works by one of the few women to make her living from writing in the Middle Ages. The manuscript was produced under her supervision for Isabeau of Bavaria, Queen Consort of Charles VI of France. It is open at an illustration of Venus teaching a group of women at the beginning of 'L'Épître Othéa'. This is a letter imagined by Christine de Pisan from the fictional Othéa, personification of wisdom, to the Trojan prince, Hector. Each short epistle is followed by a commentary giving advice to women on how to follow the example of famous characters from history and mythology. A number of episodes from the Trojan legends are illustrated, including this miniature of Circe changing Ulysses and his men into swine. Christine uses this example to encourage her audience to make use of the medical expertise of physicians rather than the charms and dark arts practised by Circe.
Travellers’ tales
Far-fetched accounts of exotic, unknown lands have always captured the popular imagination, and a work of English origin, known as the Travels of Sir John Mandeville is one of these. The copy on display contains illustrations of encounters with strange and wondrous creatures to be found in faraway places. The ‘author’, Mandeville, probably never existed, and the stories are thought to have been collected from other travellers’ accounts and presented as a real journey. Whatever its origins, this work may have been more popular than The Travels of Marco Polo at one time – it is thought that Christine de Pisan and Leonardo da Vinci owned copies of it.
A tale of magic and mystery from the court of King Arthur
Sir Gawain and the Green Knight survives in only one handwritten copy, currently on display beside the Mandeville manuscript. In this well-known story, the Green Knight issues a challenge to Arthur’s knights, a challenge that is taken up by Gawain. This leads him on a quest through the wilderness of Wirrall, where he overcomes dragons, wodewoses, bears and ogres. No spoilers here - the strange outcome of these events will be revealed in a film, The Green Knight, to be released in the UK this weekend (watch this space for a forthcoming blogpost!). The late 14th-century manuscript contains a series of full-page illustrations and three other Middle English poems, Pearl, Cleanness and Patience, believed to be by the same author, about whom nothing more is known.
A lovable rogue
Storytellers have always loved a mischief-maker, an individual who delights in creating mayhem for its own sake, but who sometimes falls victim to his or her own tricks. Animal rogues in traditional folk tales, from Anansi, the spider in West Africa, to the crow in the Indian Mahabharata and the medieval Renard the fox are the precursors of our much-loved Jerry (nemesis of Tom), Bugs Bunny and the Wild Things. Surely the best-known animal character of the Middle Ages is Reynard the Fox, hero of the French Roman de Renart. This beloved rascal was so famous that the French word for fox changed from ‘goupil’ to ‘renard’. A manuscript in French in our collections contains illustrations, including one of the well-known story of Renart and Chanticleer the cockerel, adapted by Chaucer as the Nun’s Priest’s Tale. Renart distracts the foolish and self-important cockerel by asking him to demonstrate his singing prowess, seizing the opportunity to grasp him by the neck and carry him off as dinner for his family.
Though this manuscript is not on display in Treasures, there is a William Morris Kelmscott Press edition of the tales of Reynard the fox in the section on Printed Books, where Morris adapts the medieval foliate border to create a beautiful opening to the collection of stories in English. The text is a reprint of Caxton’s 1481 English translation of the Dutch prose version, Reinaerts Historie.
Discover more medieval stories
Intrigued by medieval stories? A new book, Dragons Heroes Myths and Magic: The Medieval Art of Storytelling, by Chantry Westwell, is published this week by the British Library, and is now available to buy from the Library’s online shop and St Pancras bookshop. It features stories with images from some of the most gorgeous medieval manuscripts in our collections. The stories are divided into 7 sections, including Quests, Love Stories and Epic Battles, each with details of its origins and history and how it was perceived by medieval audiences. Illuminations from British Library manuscripts are beautifully reproduced on almost every page.
But there is no substitute for seeing the real thing, so come and visit our Treasures Gallery at the St Pancras site, which is once again open for visitors and contains a wealth of materials from our collections, in addition to the medieval manuscripts featured here.
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14 September 2021
700th anniversary of the death of Dante
14 September 2021 is the 700th anniversary of the death of Dante Alighieri (14 September 1321), author of one of the greatest works of medieval poetry, the Divine Comedy. This epic poem in Italian narrates the poet's spiritual journey from the frozen depths of hell to the cosmic heights of heaven, while exploring themes such as sin, virtue and transcendent love.
The British Library holds outstanding Dante collections, dating from the Middle Ages right up to the present day, which you can find out about in the following video made especially to celebrate this anniversary. The video has been made by European and American Collections in collaboration with Western Heritage Collections.
Who was Dante?
Dante Alighieri was born in around 1265 into a prominent family in Florence. 13th-century Florence was an up-and-coming metropolis, with a growing economy based largely on the textile trade and banking. Yet the politics of the city was torn apart by conflict between two rival factions, the Guelphs and the Ghibellines. Dante’s family sided with the Guelphs. This political setting played an important part in shaping both Dante’s life and poetry.
Dante encountered another of his great influences when, at the age of nine, he went to a party at the house of an eight-year-old Florentine girl, Beatrice Portinari. By his own later account, Dante instantly fell in love with her. But Dante’s love for Beatrice could never be realised: both were placed in arranged marriages by their families, and Beatrice died when she was only twenty-five. Although they only met a few times, Beatrice held a tremendous power over Dante’s imagination. His love for her would remain a central theme in his poetry throughout his life.
As a young man, Dante started writing poetry. His first collection of poems, the Vita Nuova (New Life), completed around 1293, narrates the story of his love for Beatrice. He also became involved in Florentine politics, serving as a soldier, public office holder and ambassador in support of the Guelph cause. However, in 1302 he fell foul of the city’s political intrigues and was sentenced to exile from Florence. Banished from his home city, Dante began writing the Divine Comedy, an epic poem in Italian in which he wove together his ideas about philosophy, theology, politics and love into an incredible cosmic journey.
What is the Divine Comedy about?
The Divine Comedy recounts Dante’s visionary journey through the realms of hell, purgatory and heaven to reach God. The poem is divided into three books, one for each of these afterlife realms. It begins with Dante wandering lost and downhearted in a forest, a metaphor for his exile. There he encounters the spirit of the Roman poet Virgil, who reveals that he has been sent by Beatrice to help Dante by guiding him on a spiritual journey.
First Virgil takes Dante through the nine circles of hell, where they see all kinds of gruesome punishments inflicted on sinners. Many of the sinners are identified as real people. For example, in the second circle of hell, Dante and Virgil witness the whirlwind of lovers, people guilty of the sin of lust being battered around by a ferocious wind. There Dante speaks to Francesca da Rimini, a woman who had an adulterous affair with her lover Paulo before they were both murdered by her jealous husband in around 1285. Dante is so moved by Francesca’s story that he faints with pity.
Many of the souls that they encounter belong to people who Dante regarded as corrupt political figures. For example, in the ninth circle of hell, where treacherous souls are imprisoned in a lake of ice, Dante and Virgil witnesses Count Ugolino gnawing on the head of Archbishop Ruggieri. Both were major political players in 13th-century Pisa. After Ruggieri seized power in 1289, he imprisoned Ugolino with his children and grandchildren in a tower where they starved to death. Dante regarded both men’s abuse of power as leading to this horrific event, for which they now suffer eternal torment.
At the centre of hell, Dante and Virgil encounter Satan, a three-headed speechless monster. In his three mouths he chews on the three greatest traitors of human history who, according to Dante, are Brutus and Cassius, assassins of Julius Caesar, and Judas Iscariot, betrayor of Christ.
After they leave hell, Dante and Virgil move on to purgatory, which is represented as a mountain which souls must climb. Here, the souls work to purge themselves of the sins they have committed in life so that they can enter heaven. The mountain of purgatory is divided into seven terraces, one for each of the Seven Deadly Sins.
At the top of the mountain they reach the earthly paradise, or Garden of Eden. Here Dante witnesses a procession of biblical figures and a chariot drawn by griffins, in which Beatrice rides. She and Dante have an emotional reunion and she chastises him for letting his life go off course.
From here, Beatrice takes over from Virgil as Dante’s guide and together they ascend into heaven. Following the classical and medieval astronomic model, Dante’s heaven is divided into concentric spheres with the earth at the centre. The first seven spheres are each governed by one of the seven classical ‘planets’, the Moon, Mercury, Venus, the Sun, Mars, Jupiter and Saturn. In each of these spheres, Dante and Beatrice meet blessed souls and learn about different kinds of virtue.
After making their way through the spheres of the planets, Beatrice and Dante come to the sphere of the fixed stars, followed by the sphere of the moving stars or Primum Mobile, and then the highest heaven, the Empyrean. Here they leave the physical world behind and enter a heaven of pure radiant light, filled with intellect, love and happiness. The Empyrean contains a huge celestial rose, where all the blessed souls reside, and where Dante witnesses a vision of the Virgin Mary.
Finally, Dante is able to witness the eternal light of God, the ultimate goal of his journey. He feels himself powerfully moved by God’s love, the same love that moves the sun and the other stars.
Dante completed the Divine Comedy in 1320, and died only about a year later in 1321. His work quickly gained popularity and survives in hundreds of medieval manuscripts, some of which are richly illustrated like the ones pictured in this blogpost. The tradition of illustrating the Divine Comedy continued into the modern period as you can discover on the British Library’s European Collections blog.
If this has whetted your appetite, you can read The Divine Comedy in both the original Italian and in English translation on the Digital Dante website. You can also find out more about our amazing holdings of Dante material at the online event Dante in the British Library: Hell, Purgatory and Heaven (Tuesday 14 September 2021, 19:30 - 20:30). And you can come to the British Library to see the Divine Comedy manuscript Yates Thompson MS 36, which is currently on display in The Sir John Ritblat: Treasures Gallery.
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09 September 2021
Dante in the British Library online event
The 14 September 2021 will be the 700th anniversary of the death of Dante Alighieri, author of one of the greatest works of medieval poetry, the Divine Comedy. This epic poem in Italian recounts Dante’s visionary journey through the realms of hell, purgatory and heaven to reach God.
The British Library holds outstanding Dante collections, dating from the 14th century right up to the present day. To discover more about these fascinating items and celebrate the anniversary, join us for our online event, Dante in the British Library: Hell, Purgatory and Heaven on Tuesday 14 September 2021, 19:30 - 20:30. The event will feature two lectures by leading Dante scholars Alessandro Scafi (Warburg Institute; who has previously blogged for the British Library about Maps of Paradise) and Elisabeth Trischler (University of Leeds). Their original research focuses on the cartographic and architectural aspects of the Divine Comedy and is inspired by our medieval manuscripts and early printed editions.
You can also come to the British Library to see the Divine Comedy manuscript Yates Thompson MS 36, which is currently on display in The Sir John Ritblat: Treasures Gallery. You can read more about Dante and his amazing Divine Comedy in our blogpost on the 700th anniversary of the death of Dante.
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22 August 2021
Richard III: fact and fiction
On 22 August 1485, the last English king to be killed in combat died at the Battle of Bosworth Field. He was none other than Richard III, a monarch whose reputation is still debated, known variously as the King under the Carpark, Shakespeare's hunchback ruler, and the (alleged) murderer of his young nephews, Edward V and Richard, Duke of York. In this blogpost, we set out some of the manuscript evidence for the reign of this controversial sovereign.
One of the earliest notices of the Battle of Bosworth is found in the calendar of an early 15th-century Book of Hours known as the 'Beaufort/Beauchamp Hours'. This calendar contains a number of added notices of births, deaths and other notable occurrences, extending as far as the deaths of Queen Jane Seymour in 1536 and Elizabeth Lucar in 1537. In the margin of the calendar page for August, the same scribe has made retrospective notes of two significant events:
7 August: 'This day landed King Harry the viith at Milfoord Haven, the yere of our Lord m.cccc.lxxxv.'
22 August: 'This day King Harri the viith wan the feeld wher was slayn King Richard the third. Anno domini 1485.'
The calendar page for August in the 'Beaufort/Beauchamp Hours', with added notices of the landing of Henry Tudor at Milford Haven and the death of Richard III at Bosworth: Royal MS 2 A XVIII, f. 31v
We can tell immediately that these notes were made after the Battle of Bosworth Field, since Henry Tudor is described prematurely at his landing as 'King Harry the 7th'. Richard is styled 'king' in the notice of his death, which does at least acknowledge the legitimacy of his rule. The lack of space in the margins of this calendar doubtless prevented the annotator from recording a more detailed description of Richard's personality and achievements.
Another posthumous report of Richard III's reign is found in an early 16th-century chronicle that extended originally as far as the rule of Henry VII. This chronicle supplies a dispassionate account of Richard's life, set out as part of a genealogical tree of the English rulers:
'Richard that was sonne to Richard Dewke of Yorke and brother unto Kyng Edward the iiiith was Kyng after hys brother and raynyd .ii. yeres and lyth buryd at Lecitor.'
A genealogical chronicle of the rulers of England, including an account of the reign of Richard III: King's MS 395, f. 33r
Richard is also illustrated in a roundel that accompanies the text, wearing a crown and carrying a sceptre in his right hand. This cannot be considered a realistic likeness, since all the portraits in this manuscript are similar in style and have the same palette of colours. But it is an antidote to the conventional image of King Richard, represented in the more famous painting held at the National Portrait Gallery. What is also noteworthy in the same manuscript is that no mention is made of the succession and brief reign of Edward V, Richard's nephew, or of the mysterious disappearance of the young princes.
The portrait of Richard III in the genealogical chronicle: King's MS 395, f. 33r
So what can we glean about Richard III from other manuscript sources? Like his predecessors, Richard was renowned as a law-giver. In one English statute book made in 1488 or 1489, just a few years after his death, Richard is shown in an historiated initial crowned and robed, holding a sceptre and orb, and surrounded by leading clerics and other courtiers. There is nothing to suggest here that his rule was considered illegitimate in any way. Indeed, at the time that this manuscript was produced, Henry VII's position on the throne was still precarious, since he was being challenged first by Lambert Simnel and then, in the 1490s, by Perkin Warbeck. Henry is illustrated in the same volume in exactly the same way as Richard III (f. 339v). You could not tell from this book alone that one of these kings had overthrown the other in battle.
The statutes issued by King Richard III in a legal manuscript made in London: Hargrave MS 274, f. 328v
Detail of the portrait of Richard III in this legal manuscript: Hargrave MS 274, f. 328v
Another visual statement of the legitimacy of Richard III's rule, this time dating from his own reign, is found in a manuscript of the English translation of De re militari by Vegetius. The decorated initial that opens this volume contains the royal coat of arms supported by two boars (Richard's emblem) and surmounted by a crown. At the foot of the same page is the griffin of Salisbury, perhaps to denote that the book was made for Edward of Middleham, prince of Wales and earl of Salisbury, Richard's son and heir apparent until his untimely death in 1484. On another page of the same manuscript is the coat of arms of Anne Neville, Richard's wife and queen of England (f. 49r).
The royal arms of King Richard III in a manuscript of De re militari: Royal MS 18 A XII, f. 1r
A final and contemporary indication of Richard's own personality is provided by books that belonged to him, including before he became king. One manuscript of the Romance of Tristan bears the inscription 'Iste liber constat Ricardo Duci Gloucestre'. After his death it passed into the hands of his niece, Elizabeth of York, who was married to Henry VII in order to unite the two dynasties. Her inscription, 'sans remevyr Elyzabeth', is found at the bottom of the page. This evidence reminds us that Richard was styled 'duke of Gloucester': in the wake of the discovery of his skeleton, York and Leicester waged claims to being the appropriate home for his reburial, while Gloucester was largely overlooked. It also suggests that he may have had an interest in courtly literature, some indication of the circles in which he moved and what was required of a Renaissance prince. This would also have extended to having knowledge of ancient and more recent history. Among the other manuscripts known to have been owned by Richard is a copy of the Chroniques de France, from 1270 to 1380, which is inscribed part-way down one page 'Richard Gloucestre'.
'This book belongs to Richard, duke of Gloucester', in a manuscript of Roman de Tristan: Harley MS 49, f. 155r
A manuscript of the Chroniques de France owned by 'Richard Gloucestre': Royal MS 20 C VII, f. 134r
Detail of Richard's name in Royal MS 20 C VII, f. 134r
Of course, there are other aspects of Richard's rule that we have not considered here. One of these is the sinister removal from power of his nephew, King Edward V, and the subsequent (assumed) deaths of the two princes in the Tower. To be accused of regicide and infanticide, even in an era when rulers were prepared to do anything to secure their position, is a massive stain on Richard III's reputation. The fate of Edward and his younger brother must always be set against attempts to rehabilitate Richard, and cannot be easily argued away. Equally, we are lacking a full understanding of Bosworth Field itself, and of how Richard's fortunes swayed on the battlefield. It is sometimes difficult to dislodge Shakespeare's account of the battle, and of Richard himself, from the popular memory. But the surviving manuscripts from his lifetime do at least provide us with a much more rounded vision of this most disputed of English monarchs.
Julian Harrison
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14 August 2021
Caption competition August 2021
Periodically we ask our lovely readers (that's you) to come up with a witty caption for an illustration in one of our manuscripts.
This month we have selected a page from a 13th-century copy of the Histoire ancienne jusqu'à César (Add MS 15268, f. 242v). So what exactly is going on here?
Send your suggestions to us via Twitter (@BLMedieval) or using the comments box below. We'll publish the best. It's that simple.
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05 August 2021
A mariner's handbook from the library of Sir Walter Raleigh
Sir Walter Raleigh (b. 1552, d. 1618) was a pivotal figure in the history of Elizabethan England. A spy, a soldier and an infamous favourite of the Tudor queen, he is perhaps best known as an explorer who founded colonies in the New World and who supposedly brought back tobacco to England. But Raleigh was also a prolific poet and writer, who collected hundreds of books and manuscripts in his lifetime. We have now digitised one of his prized possessions, a rare finely illuminated mariner’s handbook, originally made in Portugal in the 16th century.
The manuscript (now Cotton MS Tiberius D IX) is known as the Roteiro do Mar Roxo, literally meaning ‘Rutter of the Red Sea’ in Portuguese. A rutter is a type of nautical handbook that gives guidance about various aspects of the art of sailing. Navigators from across Europe compiled their own versions of these handbooks throughout the 16th century.
The contents of surviving rutters vary considerably. Many are devoted to collections of maps, naval charts, and astronomical and mathematical tables that were used to plot a course or calculate the relative position of a ship at sea. Others contain information relating to the movement of the tides, instructions on how to use navigational instruments, and how to repair damaged ships, as well as logbooks and itineraries of notable journeys made to the far side of the world. Some even include suggestions on how to avoid dangerous coral reefs, and lists of cures for diseases caught by crewmembers during a voyage. In essence, these books had everything you might have needed to navigate the oceans successfully: an invaluable resource for any sailor or explorer.
The Roteiro do Mar Roxo was made by the Portuguese nobleman João de Castro (b. 1500, d. 1548) during his 1541 expedition to Suez under Estêvão da Gama (b. c. 1505, d. 1576). By the 16th century, this region had long been established as the site of a major trade route between Europe and the Middle East, which the Portuguese and other European powers sought to control. De Castro’s work is principally devoted to an account of his voyage, supplemented with a wealth of nautical and geographical information, including observations of the islands and surrounding landscape he and his companions discovered, and notes and descriptions of coastlines, ports, and bays found along the Sinai Peninsula.
One of the highlights of de Castro’s account is a series of finely painted watercolour illustrations and charts (known as tabuas) that accompany the text, which are thought to have been originally drawn by the Portuguese nobleman while on-board his flagship.
Many of the illustrations are meticulously observed, recording not only the various topographic features of the islands and landscapes the fleet passed but also views of ports and cities on their journey. In the chart below, De Castro includes a depiction of the port of Suakin in Sudan, showing his fleet moored around it.
The Portuguese expedition fleet was comprised of 12 large galleons and carracks and at least 60 galleys, many of which are featured in De Castro’s illustrations. The ships are painted in minute detail, providing us with an invaluable insight into early modern naval design, with De Castro accounting for everything, from their sails, oars, and rigging, to the banners and heraldry flying from their masts, while tiny figures of sailors are shown clambering over the decks.
De Castro also included depictions of other ships and fleets the company encountered during their voyage, most notably those belonging to the Ottoman Empire, a major rival for Portuguese power in the Mediterranean. Here, the Portuguese fleet is shown encountering the Ottoman forces around the Strait of Suez, with a land battle ensuing soon after.
The Cotton volume is one of only two manuscripts of the Roteiro to survive from the 16th century (the other is now housed at the James Ford Bell Library, at the University of Minnesota). Its layout, illustrations, and delicately written script all suggest that it served as the presentation copy of the work, gifted by de Castro to the Infante Luis (b. 1506, d. 1555), younger brother of the Portuguese king, to whom he also dedicated the text.
The story of the manuscript’s subsequent journey from Portugal to England remains a mystery, though some have speculated that it was seized from a Portuguese ship during a battle with English privateers towards the end of the 16th century. At the very least, we know that by the early 1600s it had come into the possession of Sir Walter Raleigh, who apparently bought it in London for £60, a small fortune at that time.
That Raleigh was willing to spend so much on the volume is unsurprising, as he was an avid collector of manuscripts, printed books, maps, and sea charts. His notebook (now Add MS 57555), written when he was put in the Tower of London by King James I in 1606, contains an alphabetised shelf-list and inventory of the hundreds of volumes that made up his library, many of which accompanied him during his imprisonment. It also includes a series of comprehensive notes and hand-drawn maps that he used to write his History of the World, in Five Books, first published in London in 1614. There is even an annotated sketch of the Red Sea itself, its inclusion perhaps inspired by the Portuguese Roteiro Raleigh had purchased for his collection.
Raleigh actually makes a reference to his copy of De Castro’s Roteiro in his History of the World, and this lends us an important clue as what happened to the volume in the years that followed. The explorer states that he had given the rutter to Richard Hackluyt (b. 1553, d. 1616), apparently with an instruction to adapt and publish an English paraphrase of the text. At the time, Hackluyt was an editor, translator, and travel writer, whose works were well-known for promoting the English colonisation of America.
However, Hackluyt did not complete Raleigh’s project and it seems that the Roteiro never returned to the library of its former owner. After Hackluyt's death in 1616 and Raleigh’s execution on the order of James I in 1618, Hackluyt’s son Edmond inherited the manuscript and he subsequently gave it into the keeping of the antiquary Sir Robert Cotton. Unfortunately, the Roteiro suffered the fate of many of the manuscripts in Cotton’s collection and was heavily burned in the Ashburnham House Fire in 1731, though thankfully much of the text and many of De Castro’s watercolour illustrations did survive intact. The volume can now be read in full on our Digitised Manuscripts site.
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