22 May 2014
A Sense of Detachment
Those of you who have spent a great deal of time on our Digitised Manuscripts site may have encountered the occasional instance of a detached binding amongst the wonderful array of medieval manuscripts on offer. Many of the bindings are spectacular works of art in themselves, featuring amazing examples of medieval embroidery, leatherwork, or ivories. Besides being beautiful to look at, these bindings are also vitally important to scholars investigating the history of the manuscripts they were once attached to.
Detached binding containing an ivory plaque of St Paul, from the Siegburg Lectionary, 11th century, Harley MS 2889/1
Bindings can be detached for any number of reasons. It was a policy among many collectors and institutions in the 18th and 19th centuries (the British Museum included) to automatically rebind every newly-arrived manuscript, and unfortunately many of the original bindings from this period are now lost to us. Of course, this is no longer our procedure, and the British Library makes every effort to maintain the integrity of the manuscripts that come to us. Bindings are only replaced these days when it is necessary for preservation or conservation purposes.
Detached silk curtain, formerly covering a miniature, from the Bedford Psalter and Hours, 15th century, Add MS 42131/1
Because these detached bindings are usually kept in our manuscripts store under the same shelfmark as their erstwhile interiors, there was initially no good way to display them on Digitised Manuscripts, save a wonky workaround in which the images were numbered as end flyleaves. This at least allowed the images to be displayed, but we were aware of the potential for confusion for those interested in examining the bindings themselves, so we’ve been working to develop a better solution. And at long last, here it is: we have created new shelfmarks for a number of the detached bindings, and have republished many of the images online accordingly. We still have a few more to go, and we should issue one caveat – this new system does not incorporate all of the detached bindings in the Library’s collections, only those for select and restricted manuscripts on Digitised Manuscripts. As always, if you have any questions or would like to examine any of these bindings, please get in touch with the Manuscripts Reading Room at [email protected].
Our newly republished manuscripts and detached bindings are below; we hope you enjoy browsing through them!
Add MS 37768: the Lothar Psalter, Germany (Aachen) or France (Tours), 9th century
Add MS 37768/1: detached ivory carving from the cover of the Lothar Psalter, 9th century
Add MS 42130: the Luttrell Psalter, England (Lincolnshire), 1325-1340
Add MS 42130/1: box and volume containing the detached former binding and flyleaves of the Luttrell Psalter, England (Cambridge), c. 1625-1640
Add MS 42131: the Bedford Psalter and Hours, England (London), 1414-1422
Add MS 42131/1: detached former bindings, paste-downs, spines, and silk curtains from the Bedford Psalter and Hours, England, 15th – 17th centuries
Egerton MS 1139: the Melisende Psalter, Eastern Mediterranean (Jerusalem), 1131-1143
Egerton MS 1139/1: detached binding with ivory panels & backings, wooden panels and metal plates from the Melisende Psalter, 12th century (with later additions)
Egerton MS 3277: the Bohun Psalter and Hours, England (London?), second half of the 14th century
Egerton MS 3277/1: detached binding from the Bohun Psalter and Hours, 18th century
Harley MS 603: the Harley Psalter, England (Canterbury), first half of the 11th century
Harley MS 603/1: detached binding and flyleaves from the Harley Psalter, 19th century
Harley MS 2820: the Cologne Gospels, Germany (Cologne), fourth quarter of the 11th century
Harley MS 2820/1: detached binding from the Cologne Gospels with an ivory panel of the Crucifixion, late 11th century (set in a post-1600 binding)
Harley MS 2889: the Siegburg Lectionary, Germany (Siegburg), 11th century
Harley MS 2889/1: detached binding from the Siegburg Lectionary, with two 11th century ivory plaques (set in a 19th century binding)
Royal MS 12 C VII: Pandolfo Collenuccio’s Apologues and Lucian of Samosata, Dialogues, Italy (Rome and Florence), 1509 – c. 1517
Royal MS 12 C VII/1: detached chemise binding embroidered with the badge and motto of Prince Henry Frederick (1594-1612)
Update (3 June 2014):
We've just added three more detached bindings to Digitised Manuscripts. And here they are!
Add MS 18850: the Bedford Hours, France (Paris), c. 1410 - 1430
Add MS 18850/1: detached former binding for the Bedford Hours, consisting of a wooden box, 2 red velvet covers with metal clasps and 4 folios, England, 17th century
Add MS 42555: the Abingdon Apocalypse, England, 3rd quarter of the 13th century
Add MS 42555/1: detached former binding components from the Abingdon Apocalypse, 18th century
Add MS 61823: the Book of Margery Kempe, England (East Anglia?), c. 1440
Add MS 61823/1: remains of the original white tawed leather chemise binding from the Book of Margery Kempe, England, c. 1440
- Sarah J Biggs
13 May 2014
Comic Mania
We received some lovely feedback about our recent post, Superheroes, True Romance, Blood and Gore ... so here are three more medieval comic strips. Some people suggested, incidentally, that the famous Bayeux Tapestry qualifies as one of the earliest "comic strips", but here are some British Library examples from the 12th century.
Silos Apocalypse - Daniel the Superhero
A vision of the life of Daniel is illustrated in graphic detail in this Spanish version of Revelations made in the monastery of Silos in Northern Spain. King Darius orders Daniel to be thrown into the lions' den. Daniel appears in the den, on the right, where he is given food and the lions lick his feet. In the lower half of the image, Darius lies awake, worrying about the punishment he has inflicted on Daniel.
Scenes from the Life of Daniel, Spain, 4th quarter of the 10th century: London, British Library, Ms Additional 11695, ff. 238v-239r
The Guthlac Roll - the life of a ‘cult’ hero
Saints’ lives were usually action-packed and gory, lending themselves easily to the comic-strip format. The Guthlac roll tells the story of the life of St Guthlac using a series of images in roundels with labels (see our recent blogpost On A Roll).
St Guthlac receiving the tonsure at Repton Abbey, with the inscription 'Guthl[acus] tonsura[m] suscipit apud rependune', and inscriptions 'Epi[s]c[opus]', 'Guthlac[us]', and 'Ebba abbatissa' labelling the figures, England (possibly Crowland), c. 1175-1225: London, British Library, Harley Roll Y 6, roundel 3
Drawing of Guthlac exorcising a demon from Ecgga: London, British Library, Harley Roll Y 6, roundel 10
Bede’s Life of St Cuthbert - miraculous events
St Cuthbert’s life is told in 46 pictures in this beautiful picture book from the 12th century:
Miniature of Cuthbert accepting the bishopric at a synod of fellow monks; miniature of a man ministering to his ailing servant with holy water blessed by Cuthbert, from Chapter 24 & 25 of Bede's prose Life of St Cuthbert, Durham, 4th quarter of the 12th century: London, British Library, MS Yates Thompson 26, ff. 53v-54r
Here is an action-packed image of a man falling from a tree (degree of difficulty 1.7):
Cuthbert's vision of the soul of a man, who was killed by falling from a tree, being carried to heaven, from Chapter 34 of Bede's prose Life of St Cuthbert: London, British Library, MS Yates Thompson 26, f. 63v
Don't forget that our exhibition Comics Unmasked: Art and Anarchy in the UK is on at the British Library until 19 August 2014.
Chantry Westwell
10 May 2014
Our Favourite Map
What's your favourite map? This is our's (at least, today it is, next week we'll doubtless have a different one).
Look closely, and you can just about discern the shape. Can you guess what it is yet? It's a medieval view of Britain, one of four surviving maps by Matthew Paris, historian and cartographer at St Albans Abbey. Scotland is shown at the top, joined to the rest of the British mainland by a bridge at Stirling ('Estriuelin pons'). Moving southwards are depicted two walls, one dividing the Scots from the Picts (the Antonine Wall) and the other the Scots from the English (Hadrian's Wall). Along the spine of the map is a series of English towns, including Newcastle ('Nouum castrum'), Durham ('Dunelmum'), Pontefract ('Pons fractus') and Newark ('Neuwerc'), culminating with London, Rochester, Canterbury and Dover ('Douera'), a castle located in the centre of the South coast of England. Wales ('WALLIA') is sited in just about the right place, with a sequence of jagged lines representing Mount Snowdon ('Snaudun'); diagonally opposite is Norfolk and Suffolk, and the towns of Norwich (a metropolis, no less), Lynn and Yarmouth.
This particular map is now bound separately (London, British Library, MS Cotton Claudius D VI, f. 12v), but it once belonged to a manuscript of the Abbreviatio Chronicorum of Matthew Paris, dating from the 1250s. There are less complete maps of Britain by Matthew Paris in two other St Albans' manuscripts held at the British Library, Royal MS 14 C VII and Cotton MS Julius D VII, and in another at Corpus Christi College, Cambridge (MS 16). You can read more about these maps in Suzanne Lewis, The Art of Matthew Paris in the Chronica Majora (Aldershot, 1987), pp. 364-72; but meanwhile here are some more details of the version in Cotton Claudius D VI. It's worth bearing in mind that Matthew Paris did not have satnav, GPS or an A-Z, and that he had never visited the vast majority of the places recorded on his maps.
Julian Harrison
08 May 2014
Superheroes, True Romance, Blood and Gore
The British Library’s amazing new exhibition, Comics Unmasked, was opened last week by TV presenter and comics fan Jonathan Ross. Talking about the oldest item on show, an early printed version of the Bible with graphic images, Jonathan commented that the Bible can be a great source of material for comic books. We in Medieval Manuscripts know this only too well!
Of course, it all began with manuscripts. Here are some early examples.
The Old English Hexateuch – How many modern comic books have dancing camels?
This 11th-century Old English version of six books of the Old Testament is filled with graphic depictions of the well-known stories, like the series below showing Adam and Eve’s expulsion from the Garden of Eden:
Adam and Eve, England, S. E. (Canterbury), 2nd quarter of the 11th century: London, British Library, MS Cotton Claudius B IV, f. 7v
We had to include this picture of the dancing camels!
Abraham’s Camels in the Book of Genesis: London, British Library, MS Cotton Claudius B IV, f. 39r
Holkham Bible Picture Book - Joseph hears shocking news, ‘SHOCK’, ‘HORROR’!!
Sometimes described as England’s first graphic novel, this book tells stories from the Old and New Testament in a series of pictures with captions in Anglo-Norman French. There is some interesting material that didn’t make it into the authorised version of the Bible. The page below tells about Joseph’s reaction when he hears Mary is having a baby: the banners contain the dialogue, like speech bubbles in modern cartoons. In the second image, Joseph, whose friends have been telling him some home truths about his wife, is touching Mary’s stomach and asking her some awkward questions. Mary protests, ‘No, really don’t worry, I have never committed a bodily sin’. Of course he doesn’t believe her, but fortunately an angel drops in to reveal the divine plan and he has to eat humble pie.
Joseph finds out about Mary’s pregnancy, England, S.E. (?London), 1327-1335: London, British Library, MS Add 47682, f. 12r
Episodes from the life of Christ are also given the comic-book treatment:
The healing of the paralysed man; Christ rests by a well; the woman of Samaria; the disciples eat but Jesus will not: London, British Library, MS Add 47682, f. 24v
Egerton Genesis Picture Book – the Prequel, or where it all began
Egerton MS 1894, better known as the Egerton Genesis Picture Book, tells the creation story in a series of images:
The first days of Creation, England (?Norfolk), 3rd quarter of the 14th century: London, British Library, MS Egerton 1894, f. 1r
God creates the birds, animals and man, and rests on the final day: London, British Library, MS Egerton 1894, f. 1v
You can read more about this manuscript in our blogpost A Medieval Comic Strip.
Queen Mary Psalter – Moses, the greatest epic hero
The life of Moses is one of the great stories of all time, providing material for comics and movies such as the Charlton Heston epic and Spielberg’s ‘Prince of Egypt’. The Queen Mary Psalter contains a remarkable series of Old Testament stories told in a series of 223 pictures with captions in French. Included in the series is the Moses story. Here are some of the episodes:
Miniature in two parts of the king of Egypt demanding that all Jewish infants be killed (above); of the birth of Moses, and Moses placed in a basket and left on the banks of the Nile (below), England (London?), c. 1310-1320: London, British Library, MS Royal 2 B VII, f. 22v
Miniature of Moses freeing the Israelites from the king of Egypt, (above); miniature of Moses and the king of Egypt's troops facing each other across the Red Sea, (below): London, British Library, MS Royal 2 B VII, f. 24v
Miniature of God giving the laws to Moses for a second time (above); and of Moses showing the laws to the Israelites (below): London, British Library, MS Royal 2 B VII, f. 26r
We'll feature more medieval "comics" on this blog in the next few weeks. We're having great fun putting this list together, and would welcome more suggestions via @BLMedieval. Meanwhile, you can see our Comics exhibition in London until 19 August 2014, book your tickets online here.
Chantry Westwell
03 May 2014
A Medieval Word Search
Here is a puzzle for our readers, but be warned – it is not for the faint of heart! This is not the simple type of word search we are used to, but a very complex puzzle involving the date of Easter.
A table with decorated frame for calculating the date of Easter in the years 1140 to 1672 from a Psalter, Liège, 1255-1265, Add MS 21114, f. 7r
Here are your clues: this puzzle comes from a Psalter in our collection and dates from the 13th century. The table contains 35 two-letter symbols, which, if put in the correct order, make up a verse of two and a half hexameter lines, revealing the name of a well-known cleric with whom the book was closely associated. This cleric may have commissioned it or devised this puzzle himself. And those are the only clues we are giving!
Historiated initial 'D'(ixit) at the beginning of Psalm 109 with God holding Christ on the cross, from a Psalter, Add MS 21114, f. 11r
Apart from the Psalms, this smallish book contains two verses in a Northern French dialect, prayers and liturgical material added in the latter part of the 14th century and a number of 15th-century additions in Catalan.
This manuscript is not yet in our online Catalogue of Illuminated Manuscripts but will be published at the next upload, later this year, so you will not find any help there. We know it’s possible to solve the puzzle; a French scholar had it all worked out in the late 19th century. Let’s see if you can do it! You can leave your guesses in the comments below, or on Twitter @BLMedieval. We'll be revealing the solution on Tuesday, so stay tuned!
- Chantry Westwell
01 May 2014
A Calendar Page for May 2014
For more information about the Huth Hours, please see our post A Calendar Page for January 2014.
The themes of courting and pleasurable outdoor pursuits continue in these calendar pages for the month of May. On the first folio is the beginning of the listing of saints' days and feasts for May, amongst a backdrop of flowers. In the roundel below can be found a roundel miniature of an aristocratic young couple on horseback, setting off to go hawking (it is perhaps, but not definitely, the couple found on the opening folio for April). On the next folio is a small painting of a nude couple for the zodiac sign Gemini. Beneath is a well-dressed lady sitting in a flowering garden, engaged in a somewhat mysterious activity. Curators in our department have variously theorised that she is holding a tambourine, an embroidery hoop, or a skein of yarn; please do let us know what you think!
Calendar page for May, with a roundel miniature of a couple going hawking, from the Huth Hours, Netherlands (Bruges or Ghent?), c. 1480, Add MS 38126, f. 5v
Calendar page for May, with a roundel miniature of a lady in a pleasure garden, with the zodiac sign Gemini, from the Huth Hours, Netherlands (Bruges or Ghent?), c. 1480, Add MS 38126, f. 6r
- Sarah J Biggs
23 April 2014
The Anatomy of a Dragon
Happy St George’s Day, everyone! For some images of this patron saint of England, Portugal, Russia, and many other nations, please see our post from last year. Today, though, we thought we would turn our attention to St George’s famous opponent, the dragon.
Detail of a miniature of St George and the dragon, from the Beaufort/Beauchamp Hours, England (London) and Netherlands (Bruges), c. 1401, Royal MS 2 A XVIII, f. 5v
Dragons are near-ubiquitious in medieval manuscripts. They take pride of place in bestiaries and herbals, books of history and legend, and Apocalypse texts, to name a few. They serve as symbols, heraldic devices, and even as ‘just’ decoration, and their physical characteristics can vary widely. Cinematic and literary depictions of dragons today are fairly consistent; they are almost always shown as reptilian, winged, fire-breathing creatures (in a word, Smaug). But this was by no means constant in the medieval period.
Let’s have a look at a very common medieval trope – of the dragon as the nemesis of a saint or angel. Below we can see dragons facing off against St George (again), St Margaret, and the Archangel Michael. All these examples are drawn from late 15th century manuscripts, but their dragons are very different, and range from a lizard-y animal with duck-like feet to a winged leonine creature and a demon.
Miniature of St George and a lizard-like dragon, from the Huth Hours, Netherlands, c. 1480, Add MS 38126, f. 139v
Detail of a miniature of St Margaret emerging from the side of a lion-like dragon, from a Book of Hours, Use of Sarum, Netherlands, 3rd quarter of the 15th century, Harley MS 2985, f. 37v
Detail of a miniature of the Archangel Michael fighting a demon-like dragon, from Francisco de Ximenez’s Livre des anges, France (Tours), c. 1480, Sloane MS 3049, f. 115r
Even within a single manuscript it is possible to find a multiplicity of dragon sub-species. One notable example is a French copy of the Life of Alexander the Great, in which this famous king is squaring off against three different kinds of dragon (our favourite, of course is the last).
Detail of a miniature of Alexander the Great battling against winged dragons with emeralds in their foreheads, from Le livre et la vraye hystoire du bon roy Alixandre, France (Paris), c. 1420 – c. 1425, Royal MS 20 B XX, f. 73r
Detail of a miniature of Alexander the Great battling against winged horned dragons, Royal MS 20 B XX, f. 78v
Detail of a miniature of Alexander the Great battling against two-headed, eight-legged, crowned dragons with multiple eyes along their torsos, Royal MS 20 B XX, f. 78v
The idea of the dragon as a fearsome foe for all godly and righteous beings stretches back to the late-antique source material that later developed into the 12th and 13th century text of the bestiary. The book of beasts tells us that the dragon is a variety of serpent, is ‘larger than all other animals in the world’, lives in caves, and possesses great strength in its tail. Nothing, ‘not even the elephant’, is safe from the dragon, which lies in wait and then suffocates the captured elephant within its coils. The ominously-curled tail of the dragon is often shown to great advantage in the miniatures illustrating this passage (see particularly the first image below).
Detail of a miniature of a dragon attacking and suffocating an elephant, from a bestiary with theological texts, England, c. 1200 – c. 1210, Royal MS 12 C XIX, f. 62r
Detail of a bas-de-page scene of a mother elephant giving birth in water to avoid the dragon circling overhead, from the Queen Mary Psalter, England (London?), 1310 – 1320, Royal MS 2 B VII, f. 188v
The bestiary text also makes explicit the connection between the dragon and the devil, aligning the fantastical creature with evil, deception, ‘vainglory and human pleasures’. We see this connection repeated again and again in medieval manuscripts, particularly those concerned with describing and explaining evil.
Detail of a miniature of men worshipping a dragon and the beast of the Apocalypse, from an Apocalypse with commentary in French prose, England (London?), c. 1325 – 1330, Add MS 38842, f. 5r
Detail of a miniature of the Woman and the seven-headed, ten-horned dragon-beast of the Apocalypse, from the Welles Apocalypse, England, c. 1310, Royal MS 15 D II, f. 153r
Detail of a miniature of a human-headed satanic dragon, representing the papacy of Urban VI whose election was contested and resulted in the appointment of the anti-pope Clement VII, from Joachim de Fiore’s Vaticinia de Pontificibus, Italy (Florence), 2nd quarter of the 15th century, Harley MS 1340, f. 8r
It would be too simplistic, though, to claim that dragons were universally objects of horror and loathing. They were not even always enemies. Dragons make appearances in discussions of astronomy and natural history, as elements of decoration, and even within the Tudor coat of arms.
Detail of a miniature of the constellation ‘Draco’, from an astrological compilation with political prophecies, England (London?), 1490, Arundel MS 66, f. 33v
Detail of a dragon with its tail circling a caption, from a Hebrew festival prayer book, Italian rite, Italy, 3rd quarter of the 15th century, Add MS 16577, f. 44v
Detail of a historiated initial ‘S’ of the Pentecost, with the body of the initial formed by two intertwining dragons, Italy (Lombardy), 3rd quarter of the 15th century, Add MS 39636, f. 28r
Detail of an allegorical miniature about the Tudor rose with a red dragon, lion, and white greyhound, from Magister Sampson’s Motets for Henry VIII, Netherlands (Antwerp), 1516, Royal MS 11 E XI, f. 2r
We’ll be tweeting more fabulous British Library dragons over the next day or so; as always, please let us know your favourites. And have a wonderful St George’s Day!
Sarah J Biggs
21 April 2014
Magna Carta in England's Hall of Fame
A poll conducted recently by Visit England has chosen the four original copies of the 1215 Magna Carta for inclusion in England's Hall of Fame. Members of the public were asked to nominate their favourite English things, and then a panel of experts made the official selections across six categories. The British Library's two copies of Magna Carta, together with those held by Lincoln and Salisbury Cathedrals, have been awarded Bronze in the History & Heritage category, behind the gardens of Capability Brown at Kirkhale Lake and Courtyard, Northumberland (Silver), and Portsmouth Historic Dockyard (Gold).
We're delighted to have been chosen for this accolade. The competition was undoubtedly fierce, and other award-holders include the Sandwich (winner in the Food & Drink category), The Beatles (winner in Culture & Entertainment), and Banksy (Bronze in The Great, the Good and the Notorious).
Here at the British Library we are planning our celebrations in 2015 to commemorate the 800th anniversary of the sealing of Magna Carta, issued by King John at Runnymede on 15 June 2015. Our events will include the three-day unification of the four originals in February 2015, in partnership with our friends at Lincoln and Salisbury, and a major Magna Carta exhibition to be held at the British Library from March until September 2015. We will be posting more information about that exhibition on this blog in due course.
Meanwhile, there will be a free open-air exhibition about England's Hall of Fame on London's Southbank from St George's Day, 23 April, until 30 April 2014.
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