01 July 2016
A Calendar Page for July 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 July from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 7r
Summer is in full swing in the Bedford Hours calendar pages for the month of July.
Detail of miniatures of a man scything wheat and the zodiac sign Leo, from the calendar page for July, Add MS 18850, f. 7r
At the bottom of the folio is a miniature of a man engaged in a very typical labour of the month for July, scything wheat. Although he is surrounded by a bucolic landscape including a river and a small bridge, our peasant appears less than pleased about his task. Happily, his grumpy attitude is not shared by his companion at the bottom of the page, a remarkably jolly looking lion, for the zodiac sign Leo.
Detail of a marginal roundel of Julius Caesar, from the calendar page for July, Add MS 18850, f. 7r
On the middle left of the folio is a roundel miniature of an armoured king, crowned, holding a sword and a tablet headed with the letters ‘KL’ – a very simplified version of a medieval calendar. This king, the rubrics tell us, is Julius Caesar, for whom the month of July was named. The verses go on to describe how Caesar ‘fixed and put in order’ the months of the year that were ‘confused in the ancient calendar’ and for this achievement he was eternally memorialised.
Calendar page for July, Add MS 18850, f. 7v
The saints’ days for July continue on the following folio, accompanied by two marginal roundels. The first of these, on the middle left, shows a snarling dog who appears to be biting at a bright star; this is most likely intended to represent Canis, the star that the rubrics tell us is ‘reigning’ in the month of July. At the bottom is a less pleasant scene of Julius Caesar. He is here seated on this throne, raising his arm in alarm as another man plunges a dagger in his chest. Two men close by are also pulling daggers from their sheaths in a scene that illustrates how Caesar ‘was killed by his counsel.’
Detail of marginal roundels of Canis and the murder of Julius Caesar, from the calendar page for July, Add MS 18850, f. 7v
- Sarah J Biggs
07 June 2016
‘I Am an Antichrist’: Demons, Vices and Punks
The British Library’s new free exhibition, Punk 1976-78 is now open to the public (until 2 October 2016). This exhibition examines Punk’s influence on music, fashion, print and politics in the 40 years since the Sex Pistols came to prominence. However, the Medieval Manuscripts Section is here to tell you that rebellious attitudes and rad hairstyles have been around for much longer than 40 years!
Wrath fights Patience, from Prudentius's Psychomachia, England, 11th century, Cotton MS Cleopatra C VIII, f. 11r
The British Library’s manuscripts depict a variety of medieval rule breakers or expectation-defiers, from colourful fools to rebels who violently challenged social and political norms.
Detail of Wat Tyler and John Ball leading the Peasants' Revolt, from Jean Froissart, Chroniques, vol. 2, Low Countries (Bruges), c. 1475-1500, Royal MS 18 E I, f. 165v
One set of medieval rule breakers seem particularly pertinent to the later punk scene: demons and vices. In the opening lines of the Sex Pistols’ controversial debut single ‘Anarchy in the UK’, Johnny Rotten proclaims, ‘I am an antichrist.’ Since Late Antiquity, artists and poets in Western Europe often used imagery of antichrists—opponents of Christ, conceived of as false prophets or demons or vices—to signal countercultural status. The Sex Pistols were, consciously or unconsciously, tapping into a tradition that was over a thousand years old.
The Antichrist from the Silos Apocalypse, Spain (Santo Domingo de Silos), c. 1091-1109, Add MS 11695, f. 143r
In particular, the British Library is in the process of digitising two sets of texts related to demons, virtues, vices, rulebreakers, antichrists and anarchy. The first are Apocalypse manuscripts, of which we have 19 in our collections, 10 of which have been recently digitised. One of these, Additional MS 19896, a 15th- century Latin copy made in Germany, contains a four-part miniature of the Book of Revelation, Chapter XI, which features a beast often described as the Antichrist:
Scenes from the Antichrist story, with the Antichrist represented as the beast of the bottomless pit who kills the two witnesses (here Enoch and Elias), followed by the great earthquake, 3rd quarter of the 15th century, Germany, Additional MS 19896, ff. 8v-9r
A parallel version of the Book of Revelation in Latin and Anglo-Norman French verse, also recently digitised (Royal MS 2 D XIII), contains an illustration of the same scenes: vengeance rains down on the Antichrist and the souls of the two witnesses are taken up into heaven.
The Antichrist kills the two witnesses; the ascension of the witnesses and the persecution of the Antichrist in the great earthquake (Revelation XI: 7-13), early 14th century, England or France, Royal MS 2 D XIII, ff. 23v-24r
Although the fashions and hairstyles do not obviously call to mind the punk asethetic, wild and wacky characters and dress are everywhere, as you will see if you look at our previous blogposts on the Apocalypse manuscripts.
A different take on anti-christs-- in the sense of opponents of Christ-- comes from the second set of manuscripts depicting rule breakers which we are digitising. These are copies of the Psychomachia by Prudentius, a provincial governor-turned-ascetic from Northern Spain (d. c. 413). This poem describes seven virtues, such as Faith, Chastity and Patience, duelling seven vices, including Worship-of-the-Old-Gods, Sodomy, and Wrath. In between, the poet digresses with Biblical examples to emphasize that vices oppose what Christ stands for, whereas the virtues will help save souls. We have already digitised one of the illustrated copies of the Psychomachia in the British Library’s collection (Additional MS 24199), made in England in the late 10th and early 11th century.
Wrath fighting Patience, from Prudentius, Psychomachia, England (Bury St Edmunds?), c.980-1010, Add MS 24199, f. 10r
In particular, having just seen the Punk exhibition’s cases on punk fashion, some members of the section were struck by the wild hairstyle which the Anglo-Saxon artist gave Wrath. She would not have looked out of place in Vivienne Westwood’s and Malcolm McLaren’s circle 1000 years later (although the illustrator did not intend Wrath to be seen as a trendsetter). Demons, too, were frequently depicted with gravity-defying hairdos and revealing or torn clothing in western medieval art.
Detail of Pride’s entrance, from Additional MS 24199, f. 12r
But while the punk movement used torn clothing and wild hair as a sign of countercultural rebellion, in the Psychomachia such attire was not, it should be noted, a feature of all vices, nor was it necessarily forbidden from virtues. In the recently digitised copy of the Psychomachia, Pride (Superbia) is depicted with particularly flamboyant and sumptuous attire. Meanwhile, the text describes Faith taking to the field of battle with ‘her rough dress disordered, her arms exposed’ as she faces off against Worship-of-the-Old-Gods (translated by H. J. Thomson, Prudentius, with an English translation (1949), p. 281). The Anglo-Saxon illustrator did depict Faith fully dressed, however, as she crowned a group of martyrs.
Detail of Faith fighting Worship-of-the-Old-Gods, from Additional MS 24199, f. 4v
There are many other parallels that can be drawn between the punk movement and the medieval period. Indeed, punks themselves sometimes explicitly invoked medieval imagery. Tenpole Tudor’s band name may have been a reference to its lead singer’s name, rather than Henry VIII’s jousting exploits, but their song ‘Swords of 1000 Men’ and its accompanying cover art show how they were inspired by neo-medievalism and also subverted it. If any aspiring punk rockers are reading this, please bear in mind digitised manuscripts from the 1470s and 1000s, as well as albums from the 1970s, as a source of inspiration.
~Alison Hudson and Chantry Westwell
Read more about demons in medieval art:
01 June 2016
A Calendar Page for June 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 June from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 6r
More beautiful summer scenes greet us in the folios for June from the Bedford Hours.
Detail of miniatures of a man mowing and the zodiac sign Cancer, from the calendar page for June, Add MS 18850, f. 6r
On the lower section of the folio are the traditional miniatures of the labour of the month and the zodiac sign. On the left a peasant is at work mowing grass, with a waterwheel visible in the background. To the right is a lobster-like crab, for the zodiac sign Cancer.
Detail of a marginal roundel of Juno, from the calendar page for June, Add MS 18850, f. 6r
At the right of the folio is a miniature roundel of a crowned woman seated among chests full of gold and jewels. The rubrics at the bottom of the folio explain this unusual scene: this is Juno (Hera), who was both sister and wife of Jupiter (Zeus). The month of June is of course named after Juno, who was ‘called the goddess of riches’ and also, interestingly, ‘put all the young men to the test of bravery’.
Calendar page for June, Add MS 18850, f. 6v
Juno’s importance in the month of June is echoed on the following folio. Amongst the remainder of the saints’ days are two miniature roundels. The first shows the marriage of Hercules and Hebe, who was the cupbearer of the gods and the daughter of Juno and Jupiter. Hebe was said to have the power to give eternal youth, and June is a month in which one could believe in such things. The following scene shows two crowned kings greeting one another while holding branches of peace; the rubric is somewhat confusing but it most likely refers to the legendary peace between the Sabine king Titus Tatius and the Roman king Romulus, following which the two jointly ruled over Rome.
Detail of marginal roundels of the marriage of Hebe and Hercules and the peace between Titus Tatius and Romulus, from the calendar page for June, Add MS 18850, f. 6v
- Sarah J Biggs
26 May 2016
Bede: The Greatest Hits
On this day in AD 735 the Venerable Bede died in his monastery of Wearmouth-Jarrow in Anglo-Saxon Northumbria. Bede is most famous for his Ecclesiastical History of the English People, and is often affectionately known as the father of English history. However, this text was written at the end of a long career, in which Bede wrote many works on hagiography, natural science and theology. When another monk of Wearmouth-Jarrow wrote an account of Bede’s death, he described how Bede continued with his scholarly pursuits right up until his final moments. On the anniversary of Bede’s death, it seems fitting to explore some of Bede’s greatest hits, which can be found within the British Library’s manuscript collections.
Beginning of the second book from Bede’s Ecclesiastical History, England (Wearmouth-Jarrow?), c. 775-825, Cotton MS Tiberius A XIV, f. 39r
The Ecclesiastical History of the English People survives in a number of copies here at the British Library. Our earliest copy of the text can be dated to the late 8th century or the beginning of the 9th century, having been made in the decades after Bede’s death. Although this manuscript was damaged in the Ashburnham House fire in 1731, it is still possible to see ornate features such as the decorated initials above which begin book 2 of the History.
Opening page of Bede’s Eccesiastical History, England (Southumbria), c. 800-850, Cotton MS Tiberius C II, f. 5v
Bede’s work was widely copied within a few years of his death and for centuries thereafter. The British Library has a lavishly illuminated, early 9th-century manuscript of the Ecclesiastical History from Southumbria (Cotton MS Tiberius C II), which will soon be available in full on Digitised Manuscripts. We have also recently uploaded a 10th-century copy of the Ecclesiastical History to Digitised Manuscripts (Royal MS 13 C V).
Page from an Old English translation of Bede’s Ecclesiastical History, England, late 9th or early 10th century, Cotton MS Domitian A IX, f.11r
The British Library also holds several fragments of an Old English translation of the Ecclesiastical History written in the late 9th or early 10th century, including the recently digitised fragment in Cotton MS Domitian A IX. It is not known exactly when the Ecclesiastical History was first translated into Old English, although it is thought to have been part of King Alfred of Wessex’s programme to provide the ‘books most needful for men to know’ in English in the late 9th century.
St Cuthbert greeting King Ecgfrith, from Bede’s Prose Life of Cuthbert, England (Durham), c. 1175-1200, Yates Thompson MS 26, f. 51r
Bede is also well known for writing biblical commentaries, hagiographies, and poems on religious subjects (such as the recently digitised Add MS 11034). These include both a prose and a verse Life of St Cuthbert. A number of manuscripts of Bede's Lives of St Cuthbert were recently uploaded to Digitised Manuscripts, including a 12th-century manuscript which contains a number of well-known illustrations to the text (Yates Thompson MS 26).
Image of a scribe, perhaps Bede, from Yates Thompson MS 26, f. 2r
In this same manuscript, the preface to the prose Life of St Cuthbert includes a miniature of a scribe writing at a desk. As it accompanies the preface, the figure within this drawing is often thought to be Bede himself.
Page from Bede, De natura rerum, England, c. 975-1025, Cotton MS Domitian A I, f. 2r
Bede’s scholarly interests were not limited to history, hagiography and theology; he also wrote a number of works describing the natural world. He was the first European to note the relationship between the moon and the tides and he was skilled in very complex forms of mathematics. One of these works was entitled On the Nature of Things, and includes chapters on the creation of the world, and descriptions of astronomical and metrological features. The page above is taken from a 10th-century fragment of this text.
Page from Bede’s De temporibus illustrated with zodiac symbols, England, c. 1244, Egerton MS 3088, f. 16v
Bede wrote a brief introduction to the subject of computus, which was designed to give its readers basic knowledge of the methods of calculating the date of Easter. This was a tricky subject in Bede’s day, and in this work he used simple Latin and short sentences in order to make the text accessible to a beginner. Pictured above is a 13th-century English copy of the text, and is accompanied by an illustration of four zodiac figures; Aries, Gemini, Taurus, and Cancer.
Page from Bede's De temporibus illustrated with a diagram of the sun, moon, earth and planets, Egerton MS 3088 f. 17v
In addition to these other works, Bede wrote a number of letters throughout his life. The letter on the page below is a 12th-century copy of a letter written by Bede to Bishop Ecgberht of York only a few months before Bede’s death in May 735. In this letter, Bede is heavily critical of the current state of the Northumbrian Church and outlines various ways in which it could be reformed. Within this letter, Bede explains to Ecgberht that he is writing a letter because he is physically unable to travel to York in order to speak to Ecgberht in person. This gives some sense of Bede’s declining health in the months before his death.
Beginning of Bede's letter to Ecgberht, England (Durham), c. 1100-1150, Harley MS 4688, f. 89r
Cuthbert, a monk from Wearmouth-Jarrow, wrote an account of Bede’s death in the form of a letter. This letter can often be found in manuscripts of Bede’s Ecclesiastical History such as Harley MS 3680, copied in the 12th century. In his account of Bede’s death Cuthbert included a short poem, which he claimed was composed by Bede in Old English upon his deathbed. The poem translates as:
Facing that enforced journey, no man can be
More prudent than he has good call to be,
If he consider, before his going hence,
What for his spirit of good hap or of evil
After his day of death shall be determined.
Trans. J. McClure and R. Collins (eds), The Ecclesiastical History of the English People (Oxford, 1994), p. 301
Image of Bede from Bede’s Ecclesiastical History, England (East Anglia?), c. 1375- 1406, Arundel MS 74, f.2v
Cuthbert described how, upon hearing this poem, he and his fellow monks shared in Bede’s sorrow. He claims that they ‘read and wept by turns’ or wept continually as they read. Their reaction demonstrates that Bede was heavily valued as a scholar and a teacher at Wearmouth-Jarrow. Perhaps there are also a few modern readers of this blog who will shed a little tear on this anniversary of Bede’s death.
~Becky Lawton
23 May 2016
Size Matters
The British Library’s Digitised Manuscripts website reveals a number of remarkable things in the text and decoration of over 1460 complete manuscripts (and counting). One thing Digitised Manuscripts cannot show you, however, is the actual size of the manuscripts, since our viewer is limited by the size of your screen. Medieval book-makers did not have those limitations, and the British Library’s manuscripts come in all shapes and sizes.
The Royal Bible vol. 2, Royal MS 1 E VII, next to the Taverner Prayerbook, Add MS 88991
We recently uploaded a two-volume Anglo-Saxon Bible to Digitised Manuscripts (Royal MS 1 E VII and Royal MS 1 E VIII). These volumes are notable for a number of reasons: first, they form one of only two more or less complete Bibles which were made in England before 1066 and which still survive. Secondly, they are remarkable for their large size, measuring 570 x 350 mm (making it the size of a small child). Here’s one of these volumes next to a 22 cm ruler.
Front cover of the Royal Bible vol. 2, Royal MS 1 E VIII
Many of the British Library’s largest manuscripts are Bibles or liturgical manuscripts. This makes sense, given these texts’ spiritual importance and the role they might have been expected to play in ceremonies and impressive performances. Other texts exist in large formats, too. Cotton MS Augustus V—which recently travelled to the Everlasting Flame exhibition in New Delhi—contains the Trésor des histoires, a middle French version of an anonymous historical compilation in prose from Creation to the pontificate of Clement VI, with other 14th-century texts interpolated. Like many luxurious manuscripts, it was designed to express the social status of its owner. Such manuscripts were sometimes copied more to be seen than read. Cotton Augustus V was made in Bruges and measures an impressive 480 x 230 mm. Its elaborate fifty-five miniatures show a special concern for the treatment of light. This manuscript was part of King Henry VIII of England’s library: it is the 'item 23' in the 1535 Richmond Palace booklist (February 1535). Its size, the high quality of illumination and script, and the rarity of the text make it a perfect example of a deluxe manuscript intended to display the King’s treasures at court.
Page with miniature from Trésor des histoires, Low Countries (Bruges), c. 1475-1500, Cotton Augustus V, f. 18r
At the other end of the scale—literally—the British Library recently acquired a very small manuscript, known as the Taverner Prayerbook (Add MS 88991). Probably made for Anne Seymour (b. c. 1497, d. 1587), Countess of Hertford and later Duchess of Somerset, this manuscript contains a number of prayers and beautifully detailed illumination on pages measuring only 70 x 52 mm.
The Taverner Prayerbook, Add MS 88991, with a 22-cm ruler
But the Taverner Prayerbook is by no means the smallest manuscript in the British Library’s collection. For example, the tiny Stowe MS 956 may have been worn on a necklace or girdle and is only slightly bigger than a modern postage stamp.
Portrait of Henry VIII, from Psalms in English Verse, South East England, c. 1540, Stowe MS 956, ff. 1v-2r
In between these, there are many other interestingly shaped manuscripts at the British Library, from long thin almanacs designed to be worn on belts to the earliest surviving ‘pocket-sized’ English law book (Cotton MS Nero A I) to the recently acquired St Cuthbert Gospel (Add MS 89000). That handy manuscript is just slightly larger than a person's palm.
The St Cuthbert Gospel, England (Wearmouth-Jarrow), early 8th century, Add 89000
You can see the St Cuthbert Gospel and many of the other manuscripts mentioned in this post on Digitised Manuscripts, but remember to check the dimensions listed in the 'Full Display' page: size matters!
Laure Miolo and Alison Hudson
***********
Related Content:
12 May 2016
St Pancras: From Roman Martyr to London Station
May 12 is St Pancras’s Day. As the name of London’s second busiest railway and underground station, the name ‘St Pancras’ is well known to many Londoners, as well as travellers from abroad, as the station is the terminus for Eurostar trains arriving from Europe.
The station is also across the road from the British Library. Colin St John Wilson's iconic, red-brick design for the library visually riffs on St Pancras Station's Victorian architecture. But how many of the thousands of people who pass through St Pancras Station and past the British Library each day are aware of the story behind the name?
Not much is known about the martyr St Pancras. The main source for his life is a short Latin account of his martyrdom. According to this text, Pancras was born to a wealthy Christian family somewhere in Phrygia (in modern day Turkey). After the death of his parents, he moved to Rome with his guardian. There Pancras and his guardian gave shelter to Christians persecuted by the Emperor Diocletian (284-305 CE). When the Emperor heard of Pancras’s efforts to save Christians, he immediately summoned him. To his surprise, he discovered that Pancras was only 14 years old and, seeing his youth and determination, subjected him to a long trial.
Detail of St Pancras and the Emperor Diocletian, from Queen Mary Psalter, England (Westminster or East Anglia?), c. 1310-1320, Royal MS 2 B VII, f. 249v
According to this account, Diocletian was impressed by Pancras, telling him, “My dear boy, take my advice and save yourself and give up this madness and I will treat you as my own son.” But, even after a long discussion to dissuade him from Christianity, Pancras remained true to his faith. Enraged, the Emperor ordered his immediate execution. Pancras was beheaded and buried by the Via Aureliana in Rome around 287CE.
Detail of St Pancras's martyrdom, from Royal MS 2 B VII, f. 250r
As with many of the early Christian martyrs, it was not his life or even his martyrdom that made Pancras' cult so popular, but the miracles associated with his tomb and relics. In around 590CE Gregory, the archbishop of Tours in France, claimed that anyone making a false oath at the saint’s tomb would be seized by a demon or would collapse and die. Consequently, an oath on Saint Pancras' relics was thought so potent that it could be held up in court as proof of a witness's testimony.
No wonder, therefore, that Pancras’s relics were soon distributed to many other churches, towns and countries, including far-flung regions like Britain.
End of Pope Vitalian’s letter to Oswiu, from Bede’s Ecclesiastical History of the English People, England (Wearmouth-Jarrow?), c. 775-825, Cotton MS Tiberius A XIV, f. 111r
Perhaps the earliest written reference to the cult of Pancras in Britain comes from a letter from Pope Vitalian to King Oswiu of Northumbria in the 660s, copied by Bede into his Ecclesiastical History of the English People. The British Library has recently digitised a very early copy of Bede’s History (Cotton Tiberius A XIV). Vitalian mentions that he has sent Oswiu’s messengers back with relics of St Pancras and other Roman saints. The relics of Pancras sent by popes to England may have been used to re-consecrate old Romano-British churches or to set up new churches. As a result, churches dedicated to Pancras often claim to be among the oldest in Britain. These include St Pancras Old Church in Camden, a church near the British Library, from which the railway station takes its name.
From the 18th century onwards, St Pancras Old Church was widely regarded as one of the earliest churches in England. Although historical and archaeological evidence shows that the church does have early medieval origins, its early history before it is mentioned in Domesday Book is difficult to unravel. Efforts to do so, however, have resulted in important finds and discoveries.
One of the residents of the area, Ambrose Heal Sr, chairman of Heal’s Furniture in the early 1900’s, gathered a considerable collection of materials related to the parish of St Pancras. It was his enthusiasm for documents relating to Pancras that led him to acquire an eleventh-century manuscript containing one of the earliest copies of the life and the office (a set of prayers and hymns) of the saint. This manuscript, which his widow generously bequeathed to the British Library in 1914, is a part of a large collection of saints’ lives from eleventh-century Fulda, in what is now Germany.
Page from an Office for St Pancras, Fulda, 11th century, Add MS 38914A, f. 2r
St Pancras’s name marks a large spot on London’s street map, but the figure of the fourteen-year old Roman child-martyr himself is now forgotten. 12th May, the anniversary of his execution in Rome, is a good occasion to reflect on his long journey from early Christian Rome to the centre of Britain's bustling capital.
01 May 2016
A Calendar Page for May 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 May from the Bedford Hours, France (Paris), c. 1410-1430, Add MS 18850, f. 5r
All is lovely and bright in these calendar pages for May, in keeping with the joys of this most splendid of months.
Detail of miniatures of a man going hawking and the zodiac sign Gemini, from the calendar page for May, Add MS 18850, f. 5r
At the bottom of the folio is a typical ‘labour’ for May, albeit one in keeping with the aristocratic emphasis of this manuscript. On the left is a miniature of a man hawking, clad in luxurious clothing (note particularly the gold-embroidered stockings he is sporting). He rides a gray horse through a rural landscape with a castle in the distance. A similar landscape can be found to the right, where two blonde androgynous figures embrace, for the zodiac sign Gemini. They stand behind a gilded shield, which has been adorned by pricking in an excellent example of gold work.
Detail of a marginal roundel of the seven Pleiades, from the calendar page for May, Add MS 18850, f. 5r
The rubrics at the bottom of the folio add another dimension of understanding to the other miniature roundels for this month. On the upper right of this folio is a painting of the seven Pleiades, the mythological daughters of the titan Atlas and a sea-nymph. The eldest of these daughters is Maia (labelled Maya on the painting), who was the mother of Mercury (Hermes). The rubric informs us that the month of May is named after May, ‘because the aforesaid Mercury is called the god of eloquence and the master of rhetoric and marketing’ (‘merchandise’). This must certainly be a very early use of that latter term!
Calendar page for May, Add MS 18850, f. 5v
The emphasis on aristocratic and/or divine love continues on the following folio. The rubrics on this folio describe how Honour was married to Reverence, a marriage we can see witness by a group of praying men. Below this is a scene depicting ‘how the ancient nobles governed the people and the queens loved them’. A very pleasant image indeed!
Detail of marginal roundels of the marriage of Honour and Reverence and the governance of a city, from the calendar page for May, Add MS 18850, f. 5v
- Sarah J Biggs
30 April 2016
Fit for a King’s Sister
Looking for a story about an exiled princess who married a count called Drogo? Forget Daenerys: the real story revolves around Godgifu.
Initial B from a Gospel-book, England (Canterbury?), 11th century, Royal MS 1 D III, f. 9r
The British Library has recently digitised an intriguing 11th-century Gospel-book. This manuscript is full of surprises: a red-eyed figure pops out of an arcade surrounding some canon tables. An initial in red and orange decorated with criss-crossed and curly patterns jumps out at the start of the Pater Noster. In other parts, the manuscripts seems to be unfinished, with blank spaces left for initials which were never completed. And at the bottom of a page with a giant initial ‘B’, a 13th-century monk left a useful note, which claims that this 'text [belongs to] the church at Rochester, through Countess Goda.’
Canon tables, from Royal MS 1 D III, f. 4r
‘Countess Goda’ can probably be identified with Edward the Confessor’s sister, called Godgifu or Gode. Although she was the daughter of Æthelred the Unready and Emma of Normandy, little is known about Godgifu herself. Like her brothers, she probably spent some time in exile on the Continent in the years before and after her father’s death in 1016. At some point, she married Drogo (sometimes spelled Dreux), count of Vexin, with whom she had three sons, including Walter (or Gautier) of Vexin and Ralph the Timid, Count of Hereford, who accompanied his uncle Edward the Confessor to England and supported Edward throughout his reign. When Drogo died in 1035, Godgifu married Eustace II, count of Boulogne. It is not known when Godgifu died: some scholars suggest she predeceased her brother Edward the Confessor. She should not be confused with her contemporary who was also called Lady Godgifu—or Lady Godiva—who allegedly rode naked through Coventry to protest a toll imposed by her husband Leofric, Earl of Mercia. (At least, that is what the 13th-century chronicler Roger of Wendover claimed.)
Pater Noster, from Royal MS 1 D III, f. 23v
While Godgifu left England, her manuscript did not, or at least not permanently. The book was in an Anglo-Norman environment by the end of the 11th-century, when an ‘Exultet’ with musical notation was added to the opening pages. Although the text is written in a style associated with English scribes, musicologists have suggested that the music represents the Norman version of the melody.
Exultet with musical notation, England (Canterbury?), late 11th century, Royal MS 1 D III, f. 7v
The book may have stayed with one of Godgifu’s former manors. After Godgifu’s manor of Lambeth was given to Rochester Cathedral by William Rufus, the book may have been taken to the Cathedral, where it was recorded in the list of books copied or acquired by Alexander, the precentor, soon after 1201.
Detail of a library inscription, England (Rochester), c. 1201, Royal MS 1 D III, f. 9r
Although little is known about Godgifu today, her name evidently meant something to the 13th-century member of the Rochester community who chose to inscribe it. And while librarians never encourage writing in books, scholars are indebted to this anonymous scribe for giving us a glimpse into the world of Godgifu.
~Alison Hudson
Medieval manuscripts blog recent posts
Archives
Tags
- Africa
- Alexander exhibition
- Ancient
- Anglo-Saxons
- Animals
- Black & Asian Britain
- British Library Treasures
- Calendars
- Classics
- Decoration
- Digital scholarship
- Early modern
- Elizabeth and Mary exhibition
- English
- Events
- Exhibitions
- Fashion
- Featured manuscripts
- French
- Gold exhibition
- Greek
- Harry Potter
- Humanities
- Illuminated manuscripts
- International
- Ireland
- Latin
- Law
- Leonardo
- LGBTQ+
- Literature
- Magna Carta
- Manuscripts
- Maps
- Medieval
- Medieval history
- Medieval women
- Middle East
- Middle east
- Modern history
- Music
- Olympics
- Palaeography
- Polonsky
- Printed books
- Rare books
- Research collaboration
- Romance languages
- Royal
- sacred texts
- Sacred texts
- Science
- Scotland
- Slavonic
- South East Asia
- Visual arts
- Women's histories
- Writing