20 September 2018
The Book of Durrow to be displayed at the British Library
It is now less than one month until the Anglo-Saxon Kingdoms exhibition opens at the British Library on 19 October. Today, we are delighted to announce that the Book of Durrow will be on display in the exhibition, on loan from the Library of Trinity College Dublin. This manuscript, dated to the late 7th or turn of the 8th century, is believed to be the earliest fully decorated gospel-book to survive from Ireland or Britain.
The carpet page and opening of the Gospel of Mark, in the Book of Durrow (Trinity College Library, Dublin, MS 57, ff. 85v–86r). © The Board of Trinity College, Dublin.
The date and origin of the manuscript have long been debated. Strong parallels with early Anglo-Saxon metalwork, including objects from the Sutton Hoo ship burial, encouraged former attributions to Northumbria. A sword pommel from the Staffordshire Hoard, discovered in 2009, also closely resembles some aspects of the decoration in the Book of Durrow and will be on display in the exhibition. However these similarities seem to reflect the dispersal and durability of Anglo-Saxon metalwork, and the strong cultural and artistic connections between Ireland and the Anglo-Saxon kingdoms. The Book of Durrow is now generally considered to have been produced in the monastery of Durrow, Co. Offaly, or to have arrived there from Iona.
Our forthcoming exhibition will be the first opportunity to see the Book of Durrow in Britain since it was displayed at the Royal Academy in the ‘Treasures of Trinity College Dublin’ exhibition in 1961. The only loan to that exhibition was the Lindisfarne Gospels. Anglo-Saxon Kingdoms will be the first occasion on which the two manuscripts have been exhibited together for nearly 60 years. As we announced in November last year, the exhibition will also include Codex Amiatinus, which was made in Northumbria in the early 8th century and is returning to Britain for the first time since it was taken to Italy in 716.
The opening of the Gospel of Matthew, in the Lindisfarne Gospels (British Library Cotton MS Nero D IV, f. 27r).
The Book of Durrow contains the text of the four Gospels, adorned with spectacular decoration. Its artists drew inspiration from Ireland, the Anglo-Saxon kingdoms, Pictland and as far away as the Mediterranean. Its designs are outstanding for their precise geometry, harmonious compositions and bold style of drawing. One of the most striking features of the manuscript is its ‘carpet pages’, so-called because they are completely covered with complex geometric designs. Putting abstract ornament centre stage was new to manuscript illumination, and went on to play an important role in Anglo-Saxon gospel-books such as the Lindisfarne Gospels.
The carpet page preceding the Gospel of John, in the Book of Durrow (Trinity College Library, Dublin, MS 57, f. 192v). © The Board of Trinity College, Dublin.
Other important elements of the manuscript’s artwork are the images of the evangelist symbols, the creatures that symbolise the gospel-writers, Matthew, Mark, Luke and John. Early Christian writers assigned the evangelists the symbols of the man, the lion, the ox/calf and the eagle based on the visions of Ezekiel and John the Evangelist in the Bible. The Book of Durrow is the first surviving manuscript in which each Gospel opens with a picture of the evangelist symbol instead of a portrait of the human evangelist. It is also the first surviving instance of a ‘four-symbols page’ in a manuscript, an image of all four evangelist symbols arranged in a cross shape. The linear style and flat blocks of colour suggest that the creatures were inspired by metalwork objects.
The eagle, acting as the Evangelist symbol of St Mark, in the Book of Durrow (Trinity College Library, Dublin, MS 57, f. 84v). © The Board of Trinity College, Dublin.
The Book of Durrow is one of the most spectacular surviving works of early medieval art and we are very grateful to Trinity College Dublin for loaning this manuscript to the exhibition. The Anglo-Saxon Kingdoms exhibition runs from 19 October 2018 to 19 February 2019.
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17 September 2018
Two new charters from Ramsey Abbey
In 2017, we were delighted to receive the gift of two 12th-century charters from Ramsey Abbey, generously donated to the British Library by Abbey College, Ramsey. These two charters have been conserved and photographed, and they can now be viewed on our Digitised Manuscripts site.
The charters were presented on behalf of the Trustees of the Ramsey Foundation by Robert Heal, Gordon Mather and a group of students from Ramsey Abbey College, pictured here with Andrea Clarke and Andrew Dunning of the British Library
Ramsey Abbey was one of the wealthiest and most influential monasteries in medieval England. It was founded by Oswald, bishop of Worcester and later archbishop of York, probably in the late 960s. With help from his benefactor, the nobleman Æthelwine, Oswald turned Ramsey into a major economic force and intellectual centre. It was even briefly home to Abbo of Fleury, one of the leading intellectuals in western Europe, who taught there for two years in the late 980s.
Detail from the earliest account of the foundation of Ramsey (Ramsege), in Byrhtferth of Ramsey’s Vita sancti Oswaldi, written c. 996–1002 and preserved uniquely in the Cotton-Corpus Legendary, Worcester, 3rd quarter of the 11th century: Cotton MS Nero E/1, f. 11v
Most of our information about Ramsey's early years comes from one of Abbo’s students, Byrhtferth, a talented mathematician, author and teacher in his own right. The British Library has the only surviving copies of Byrhtferth’s Lives of St Oswald and St Ecgwine, as well as parts of three manuscripts that seem to have been based on the handbook he used in his teaching: Cotton MS Nero C VII, ff. 80–84; Harley MS 3667 + Cotton MS Tiberius C I, ff. 2–17; and Cotton MS Tiberius E IV. Ramsey remained an important intellectual centre throughout the Middle Ages, particularly for the study of Hebrew.
Byrhtferth’s diagram of the groups of four elements he believed made up the universe, copied at Peterborough, c. 1120–1140: Harley MS 3667, f. 7r
These artistic and intellectual achievements were financed by careful estate management, land acquisitions, protection of the abbey’s rights, record keeping and accounting. The monks kept track of their income and accounts by making charters and other documents, ensuring that the texts could be easily located. The large amounts of documentation surviving from Ramsey make it one of the best places to study life in medieval England, as shown in Ramsey: The Lives of an English Fenland Town, 1200–1600.
The first charter presented to the British Library (Add Ch 77736) is a notification of King Henry I of England (1100–1135), issued at Falaise between 1133 and 1135. It states that William de Houghton, Henry’s chamberlain, has restored to Ramsey Abbey the estate of ‘Bradenache’ (presumably Brandish Wood), along with land at Gidding. This charter features an impression of Henry's Great Seal, in white wax. Its text was also copied into one of the surviving Ramsey Abbey cartularies, Cotton MS Vespasian E II, f. 12r.
Notification by King Henry I: Add Ch 77736
The second charter (Add Ch 77737) is King Henry II's confirmation of this same grant, issued at Lincoln. Among the witnesses is Thomas Becket, the king’s chancellor (a position he held from 1155 until 1162).
Confirmation by King Henry II: Add Ch 77737
Until now, these charters had probably remained within a single hectare for the better part of a millennium. Most of Ramsey Abbey’s archives and library were dispersed at the abbey's dissolution in 1539. The British Library now holds the largest segment of their remnants, among which are many charters and cartularies and nineteen manuscripts, including the famous Ramsey Psalter. These two charters seem to have remained on the site, and were owned beyond living memory by Ramsey Abbey School, a grammar school first documented in 1656.
The Great Seal of King Henry I: Add Ch 77736
We are extremely grateful to Abbey College for its splendid gift to the nation.
Alison Hudson and Andrew Dunning
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11 September 2018
Births, births and (more) births
In 1490, the curate of St Theodor in Basel, Switzerland, began compiling a register of the baptisms he performed at the church. The handwritten portion of the manuscript begins with a note in his hand: it records the year, 1490; the purpose for which the register was kept (‘ad inscribendum pueros baptisatos’); and his name, Johann Ulrich Surgant. The first entry, underlined in red, is for a baptism performed on 13 July, the feast day of St Henry (also known as Henry II, Holy Roman Emperor): a boy named Henry Falkner – after his father, it seems, rather than his beatified namesake.
Detail of the opening entries in the baptismal register of the church of St Theodor, Basel: Egerton MS 1927, f. 8r
This register was maintained at the church for a little short of 250 years, with the last entries being made in 1737. In 1620, when the volume begun by Johann Ulrich Surgant was full, a second one was acquired. These two manuscripts – Egerton MS 1927 and Egerton MS 1928 – are a valuable resource for anyone pursuing prosopographical or genealogical research for families in Basel across four centuries. You can also study them in detail on the British Library's Digitised Manuscripts site.
Printed page from a Missale Basiliense, containing the ceremonies performed in preparation for the use of the baptismal font: Egerton MS 1927, f. 7r
Surgant evidently sourced the blank volume locally. Inserted at the beginning are several printed pages from a Missale Basiliense printed by Michael Wenssler in 1488 (the British Library holds a complete copy at IB.37136; ISTC im00651500). These comprise a calendar, with the main religious feasts printed in red ink, and the ceremonies and prayers performed in preparation for the use of the baptismal font. These contents were of obvious utility in such a volume and illustrate that the book was designed and acquired with this specific purpose in mind.
Front binding showing exposed oak boards, blind-stamped pigskin and metal clasps: Egerton MS 1927
The cover is characteristic of late 15th-century Swiss bindings, with blind-stamped pigskin covering a third of the front and back oak boards. Using the Einbanddatenbank, it is sometimes possible to identify the craftsman responsible, but in this case, none of the tools used on the covers of Egerton MS 1927 are a match for known binders or workshops in that region.
Detail of an entry recording the baptism of Christiana Foxe, 22 September 1555: Egerton MS 1927, f. 115r
These registers are of particular interest to anyone studying the protestant religious communities in Switzerland during the 16th century. The martyrologist John Foxe (b. 1516/17, d. 1587), of Acts and Monuments fame, spent at least four years of his exile in Basel, before returning to England in October 1559. The earliest evidence of his arrival in the city is an entry in this very register, on 22 September 1555: ‘to John Foxe, the Englander, a child, called Christiana’. Along with other Marian exiles, Foxe rented rooms in the Clarakloster, a former convent. The first of his daughter’s godparents was a fellow resident: Thomas Bentham (b. 1513/14, d. 1579), who became Bishop of Coventry and Lichfield under Queen Elizabeth I.
James Freeman (Medieval Manuscripts Specialist, Cambridge University Library)
01 September 2018
A calendar page for September 2018
Spears to the ready! It’s time to go on a hunt. So says a calendar page for September, made over one thousand years ago. You can read more about this calendar in the first of our series of posts about it this year, and soon you can come to see it in person at our Anglo-Saxon Kingdoms exhibition.
Detail of a scene with hunters and pigs: Cotton MS Julius A VI, f. 7r
This calendar is one of only two calendars from Anglo-Saxon England that are illustrated with scenes of daily life (the other is in Cotton MS Tiberius B V/1). For the preceding months these scenes have tended to focus on agriculture, but for September the artist has drawn a hunting scene. Two men with spears, a hunting horn and a dog follow a group of boars or possibly domestic pigs into a forest of sinuous trees. The oblivious pigs, meanwhile, munch on items hanging near the base of the trees. This scene nicely matches a description in an Old English riddle from the Exeter Book on Creation/the World/the Universe:
‘I am bigger and fatter than a fattened swine,
a swarthy boar, who lived joyfully
bellowing in a beech-wood, rooting away …’ (translated by Megan Cavell)
Calendar page for September: Cotton MS Julius A VI, f. 7r
This page is also notable for containing the only depiction of a woman to feature in this calendar. She represents the astrological sign Virgo and appears in a roundel at the top of the page. She is shown holding a plant. Her dress seems to be that of an 11th-century English woman: she wears a veil on her head and has flowing sleeves.
Detail of a roundel depicting Virgo: Cotton MS Julius A VI, f. 7r
The absence of women elsewhere in the calendar is puzzling, since women would have participated in many agricultural activities. For example, notes on farming equipment, produce and workers from early 11th-century Ely mention dairymaids and other women working on farms. Women also attended feasts, such as the one depicted in the calendar page for April. Even the poem Beowulf — not noted for its gender representation — mentioned women attending a feast, including Queen Wealhtheow and her maidens.
Farm records mentioning female agricultural workers: Add MS 61735
The absence of women elsewhere in the calendar is perhaps puzzling. The only other surviving calendar from Anglo-Saxon England that is illustrated with agricultural and pastoral scenes (Cotton MS Tiberius B V/1) does not include women, either. Perhaps these artists were working from models that did not feature women. Additionally, it is tempting to speculate that these images conveyed a spiritual meaning as much as depicting contemporary activities: scenes of ploughing and harvesting were well-known Biblical metaphors. It is therefore possible that female figures were excluded not because women did not play a role in 11th-century agriculture, but because women’s participation in preaching and spiritual teaching was being curtailed in some circles by the 11th century.
Detail of a verse on the feast of Michael the Archangel: Cotton MS Julius A VI, f. 7r
In addition to the artwork, this calendar features tables for calculating the day of the month, the day of the week, and lunar cycles, along with a poem with a verse for every day. Three major feast days have been marked out with gold crosses in the margin: the Virgin Mary’s birthday (8 September); the feast of St Matthew the Evangelist (21 September); and the feast of the Archangel Michael, or Michaelmas (29 September). Michaelmas continued to be an important feast throughout the Middle Ages, and its date still affects several institutions that originated in the medieval period. For example, law courts in England and Ireland and several universities in England, Wales and Scotland use Michaelmas as the start date for their terms.
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27 August 2018
Old English elephants
My favourite Old English word — for the moment — is ‘ylp’. It means ‘elephant’. I was discussing this over lunch with my colleagues at the British Library, when someone asked a fair question: why was there a specific Old English word for elephant, when writers such as Ælfric (d. c. 1010) acknowledged, ‘Some people will think it wondrous to hear [about these animals], because elephants have never come to England’? The short answer is: elephants did not have to physically come to the British Isles to influence early medieval culture. They are a good example of the links that existed between early medieval kingdoms on the island of Britain and the wider world, through the exchange of books.
An elephant, from the Marvels of the East, in a mid-11th century scientific collection: Cotton MS Tiberius B V/1, f. 81r
Some people from those kingdoms had travelled long distances, and if they had visited the southern Mediterranean, they may have seen elephants there. One elephant had also reportedly been given to the Emperor Charlemagne (d. 814). However, many early English speakers had never seen an elephant, as is evident from their attempts to illustrate them. But literate people who had never left England could still encounter elephants in their books. Elephants appear in several of the classical and Late Antique texts which were available in early medieval Britain. Church fathers such as Augustine used elephants as metaphors, since their large size and apparently calm demeanour suggested stability and chastity. Such beliefs led to the motif of the noble elephant fighting the demonic dragon in later medieval art.
An elephant and a monkey, from an illustrated Old English translation of medical remedies, England (? Christ Church Canterbury or Winchester), c. 1000–1025: Cotton MS Vitellius C III, f. 82r
Mediterranean medical texts that circulated in the British Isles also mentioned elephants. For example, an Old English translation of the group of remedies known as the Pseudo-Apuleius complex recommended that elephants be used as a beauty product: to remove ‘disfiguring marks’ on the body, ‘take elephant bone [possibly ivory] and point with honey and apply it. It removes the marks wonderfully.’ Don't try this at home!
Other classical and Late Antique texts described elephants being used in military campaigns. Some of these works were translated into Old English, including Orosius’s History Against the Pagans. The earliest surviving manuscript of this translation includes a passage which described how Hasdrubal, king of Carthage, set out with 30 elephants (‘mid xxx elpenda’). The scribe of a later copy of this text mistakenly changed the passage to 30 helpers ('helpenda').
Detail of a passage discussing elephants, from the Tollemache Orosius, England (Winchester?), late 9th or early 10th century: Add MS 47967, f. 55v
Based on these texts, many Old English writers understood elephants as war animals. In his sermon on the Book of Maccabees, Ælfric described how:
‘Five hundred mounted men went with every elephant, and a war-house (wighus) was built on each of the elephants, and in each war-house were thirty men … An elephant is an immense animal, larger than a house, completely surrounded with bones within its hide, except at the navel, and it never lies down. The mother carries the foal for 24 months, and they live for 300 years … and man can tame them wonderfully for battle’ (translated by Joe Allard & Richard North, Beowulf and Other Stories, 2nd edn, London: Pearson, 2012).
As a sidenote, if for some reason you ever need to ask for directions to the Elephant and Castle Underground station in Old English, according to Ælfric you should ask for ‘Ylp ond Wighus’.
Start of a riddle about an elephant, from a copy of Aldhelm's riddles, England (Canterbury), c. 1000: Royal MS 12 C XXIII, f. 100v
Elephants were also characterised by their military role in war in a Latin riddle composed by Aldhelm (d. 709/10), bishop of Sherborne:
‘As armoured troops and soldiers pack in tight
(Wretches who with vain lust incite a fight
While arms taint sacred civil loyalties),
A trumpet sucks in air with bursts of breeze
And raucous, clanging battle horns resound;
Fierce, bold, I’ve come to know their savage sound…’
(translated by A.M. Juster, St Aldhelm’s Riddles, Toronto: University of Toronto Press, p. 59).
Aldhelm’s riddle also shows that elephants were known for more than just their skills in battle. They were also prized for their ivory. The riddle continues:
‘Although God made me ugly at my start, I picked up gifts of life once I debuted ...
I can’t be beaten by fine sheets of gold,
Although the precious polished metal’s decked
With gleaming gems and stylish luxuries.
Nature won’t let me kneel when I feel old
Or rest my eyelids while on bended knees.
Indeed, I have to spend my life erect.’
Elephant ivory may have been known in the post-Roman kingdoms in the island of Britain. It has been detected in some 6th-century bag frames, although walrus ivory is more common.
Beyond copying texts that mentioned elephants as metaphors or resources, many Old English writers were fascinated by them out of a sense of wonder that such creatures could exist. Ælfric marvelled at their size, and both he and Aldhelm believed that elephants never sat down.
A text that exists in both Latin and Old English versions, known as the Marvels of the East, similarly presents elephants as a wonder. It claims that elephants stand 15 feet high with a ‘long nose’ covered in black hair. It also states that they are plentiful in India. The artists who illustrated two copies of this text did not pay much heed to this description. One artist portrayed a pink-skinned elephant with a long tongue and tusks, instead of a long nose, as shown at the start of this blogpost. Meanwhile, the artist of the Marvels of the East in the Nowell Codex (which also contains Beowulf) drew elephants in a way that is suspiciously reminiscent of the way they also illustrated camels.
Elephants, from the Marvels of the East, England, late 10th century or early 11th century: Cotton MS Vitellius A XV, f. 101v
Elephants probably did not arrive in England for several more centuries. The earliest recorded elephant in England is the gift that King Louis IX of France presented to King Henry III of England in 1255. The chronicler Matthew Paris was on hand to illustrate and to describe it, claiming that ‘we believe [it was] the only elephant ever seen in England …’ But even before that, elephants had already had a significant impact on English literature and culture.
Would you like to learn more about the earliest English literature and its connections to the wider world? You can find out more on our Discovering Literature: Medieval site. And don't miss our Anglo-Saxon Kingdoms exhibition, on show at the British Library from 19 October 2018 to 19 February 2019.
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22 August 2018
A bumper crop of manuscripts (part 2)
We recently reported that we have added several new manuscripts to our Digitised Manuscripts site. We're delighted to say that many more can now be found online. Here are some of our favourites.
The elegaic Livre des Quatre Dames
In this poem by Alain Chartier (d. c. 1433), an ambassador for King Charles VII of France, the poet meets four ladies, who tell of the fates of their four lovers who were lost at the battle of Agincourt. One lover was killed, one lost, one taken prisoner and one fled. This manuscript is believed to have been commissioned by Anne de Laval (d. 1466) of the Montmorency-Laval family of Brittany and Maine, supporters of the French king. Their coat of arms can be found in the initial on f. 1r.
The poet with the four ladies, from the Livre des Quatre Dames, France, c. 1425: Add MS 21247, f. 1r
The romantic Guiron le Courtois
The legend of Guiron is part of the Arthurian cycle, dealing with the exploits of earlier generations of heroes, the ancestors of Tristan, Erec and the knights of the Round Table (including Palamedes and Meliadus). On this page, a historiated initial signals the beginning of the adventures of ‘Brehus sans pitie’, who meets Guiron’s grandfather in a cave. From him he hears the whole history of Guiron’s lineage, and of his exploits at the castle of Malaonc, where he befriended Lord Danyn the Red and fell in love with his wife, the Lady of Malaonc, the most beautiful woman in Britain. Later, they both fell in love with the Lady Bloye and Guiron first defeated Danyn, then rescued him from a dragon.
Brehus finds a knight lying dead in a beautiful chamber, from Guiron le Courtois, northern Italy, 14th century: Add MS 36880, f. 40v
The gruesome German Missal
This early 15th-century Missal was produced for the Use of Cologne, as is indicated by the calendar and the offices in honour of St Severin, archbishop of Cologne. It contains 7 full-page miniatures of Rhenish execution, and added on single folios, seemingly inserted at random in relation to the text. This image of the 10,000 martyrs probably illustrates the medieval legend of the Roman soldiers, led by St Acacius, who converted to Christianity and were crucified on Mount Ararat by the King of Persia by order of the Roman emperor. They appear to be males, but the calendar of saints includes the feast of the 11,000 virgin-martyrs of Cologne, legendary companions of St Ursula, who, according to Geoffrey of Monmouth writing in the 12th century, was the daughter of the ruler of Cornwall.
The Ten Thousand Martyrs, from a Missal, Cologne, 1st quarter of the 15th century: Egerton MS 3018, f. 43r
The mysterious Biblia Pauperum
This manuscript consists of a series of black outline drawings. Every second page has a large drawing of a subject relating to Christ’s Passion at the top; below this are two drawings, usually of subjects from the Old Testament; and beneath are two further drawings of the habits of animals, including snakes, birds, dogs, wild boars, fish, an owl, an elephant and a peacock, based on classical authors. Surrounding them are busts of human figures, including prophets. On the facing pages are corresponding texts and quotations in Latin, with explanatory comments.
Christ is scourged, with other images including a figure tied to a tree, a wild boar being slaughtered, and a figure harvesting acorns, from the Biblia Pauperum, ?Germany, 2nd half of the 15th century: Add MS 15705, f. 10r
The horticultural Carrara Herbal
This herbal is a luxury copy created for Francesco Carrara II, Lord of Padua, rather than a practical, medicinal manual. Based on Arabic compilations that were translated into Latin, this treatise written in the Paduan dialect describes the medicinal properties of plants, animals, and minerals. It is accompanied by numerous illustrations of plants that appear more decorative than scientific.
Illuminated initial and a plant illustration from the Carrara Herbal, northern Italy (Padua), c. 1400: Egerton MS 2020, f. 11v
The historical Chronicles of Matthew Paris
This mid-13th century St Albans’ manuscript contains a collection of chronicles and historical material, including the Abbreviatio compendiosa chronicorum Anglie, compiled and copied in part by Matthew Paris himself. At its beginning is a collection of 32 portraits of English monarchs and other historial figures from Britain. It once included Matthew Paris’s full-page map of Britain, now kept separately as Cotton MS Claudius D VI/1.
Utherpendragon, Æthelberht, Arthur and St Oswald, in the chronicles of Matthew Paris, St Albans, c. 1255–1259: Cotton MS Claudius D VI, f. 218v
For the other manuscripts recently added to Digitised Manuscripts, please see our previous blogpost, A bumper crop of manuscripts (part 1).
Chantry Westwell
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17 August 2018
A bumper crop of manuscripts (part 1)
The summer holidays may be here but we have been busy at the British Library, adding more items to our Digitised Manuscripts site. Here are some of the highlights.
The beautiful: a Spanish Book of Hours
This gorgeous Book of Hours, about the size of a modern paperback, contains 10 full-page miniatures — attributed to Juan de Carrion, an artist associated with Toledo — and 14 illuminated initials, with full borders in glorious pinks, blues and greens. They are decorated with an amazing variety of flowers, birds and all manner of creatures. This is one of eight stunning illuminated manuscripts acquired from the collector and philanthropist, Charles William Dyson Perrins (1864–1958) of Lee and Perrins, the makers of Worcester sauce. They include the Gorleston Psalter, the de Brailles Hours and the Hours of Elizabeth the Queen.
The Circumcision of Christ, from a Book of Hours, Spain, 4th quarter of the 15th century: Add MS 50004, f. 41v
The bejewelled: Isocratis de Regno
These two works by Isocrates and Lucian were translated by Johannes Boerius or Giovanni Battista Boerio (d. before 1530), for Prince Henry, the future Henry VIII. Boerio was astrologist and physician to Henry VII, and this copy was made for him in Italy by Pierantonio Sallando. It contains gold borders with jewelled decoration at the beginning of each text. Lucian’s work, usually known as De calumnia, is titled Non facile credendum esse calumniate (‘On not believing rashly in slander’), good advice for a young monarch, but not necessarily followed by Henry VIII later in his reign, particularly with regard to the treatment of his wives.
The opening page of Lucian, De calumnia, with a border incorporating the arms of Henry VII and Henry VIII, supported by the dragon and greyhound, and in the border, phoenixes and leopards, and numerous all'antica elements such as vases, cornucopia, and jewels with foliate motifs, northern Italy (Bologna), c. 1505: Add MS 19553, f. 19r
The fabulous: the Spalding manuscript
This collection of Old French texts contains a rare copy of Le Songe Vert, accompanied by a chanson de geste, two classical romances and the Ordene de Chivalrie, a set of instructions on chivalry allegedly given by Hue de Tabarie to Saladin. Le Songe Vert is a 14th-century allegorical poem, written in the Picard dialect and described by its early editor, Leopold Constans, as a ‘curieux poeme’. At the end of the plague of 1347–48, the author dons a black mourning dress and wanders into an orchard. He is consoled by a vision of love and returns with his dress a bright green. You may wonder why this volume is known as the 'Spalding manuscript': its name refers to a previous owner, Maurice Johnson (1815–1861) of Ayscoughfee Hall, Spalding, in Lincolnshire.
The opening page of Le Songe Vert, from the Spalding manuscript, France, 14th century: Add MS 34114, f. 227r
The weird: Liber Belial
The Liber Belial or Processus Luciferi contra Jesum Christum takes the form of a lawsuit between Lucifer and Jesus Christ, with Solomon presiding. The Devil sues Christ for trespass by descending into Hell. A note on f. 2v states that the text was written on 30 October 1382 at Aversa, near Naples; it is dedicated to Angellus de Castellone of Arezzo, archpriest of Padua.
The opening page of the Liber Belial, Naples, 1382: Harley MS 3134, f. 3r
The boastful: the life and genealogy of Edward IV
For any aspiring medieval ruler intent on vaunting their prowess and legitimate claim to the throne, a connection to biblical antecedents was an absolute must. In this roll five pairs of large coloured miniatures each show an event in the career of King Edward IV on the right, with its biblical type or precedent on the left. It provides an allegorical representation of Edward's success and the fulfilment of the prophecies that he would attain the throne. To crown it all, his genealogical tree below is in the form of a biblical tree of Jesse (traditionally portraying Christ’s descent from King David), and shows Henry III reclining at the bottom, with Edward IV and Henry VI emerging as opponents at the top.
The life and genealogical tree of King Edward IV, England, 1461–c. 1470: Harley MS 7353, f. 1r
The wonderful: Ovide moralise and other French texts
In this French translation of Ovid’s Metamorphoses is illustrated the legend of the ill-fated lovers, Pyramus and Thisbe. Here they are shown at their secret meeting place under a mulberry tree. Pyramus, believing Thisbe to have been killed by a lion, has fallen on his sword and lies dead. Thisbe is about to plunge his sword into her throat. As a result, the gods changed the colour of mulberries to red to honour their forbidden love. This manuscript also contains Christine de Pizan's L'Epistre Othea, in which Hector, prince of Troy, is tutored in statecraft and political morality by Othea, the goddess of wisdom.
Pyramus and Thisbe beside a fountain, from Ovid's Metamorphoses, southern Netherlands, 4th quarter of the 15th century: Royal MS 17 E IV, f. 55r
We are adding new content to Digitised Manuscripts every week. A second blogpost will describe some of the other recent additions: keep your eyes peeled!
Chantry Westwell
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15 August 2018
New papyrus position at the British Library
The British Library is delighted to be able to offer a full time papyrus cataloguing and researcher post to work on our world-famous collection of Greek and Latin papyri. This one-year, fixed-term position will be based in the Ancient, Medieval and Early Modern Manuscripts section of the Library’s Western Heritage Collections department in London.
Drawing from a collection of magical spells, Egypt (Hermopolis), 5th century: Papyrus 122
The British Library holds one of the world's most important collections of Greek papyri. Its diverse holdings comprise unique witnesses of Greek classical literature, early biblical fragments, magical papyri and an extensive corpus of Greek documentary papyri. This collection of more than 3000 items is now being fully digitised and published online. Newly created images, accompanied with new catalogue entries, will be accessible on the Library’s Digitised Manuscripts site as well as in a new viewer with additional functionalities to enhance further research.
The Constitution of Athens, Papyrus 131, in our new Universal Viewer
The post-holder will contribute towards the cataloguing associated with this digitisation project. They will create and enhance catalogue entries for the newly-digitised items and will oversee the processing of digital images. Using their specialist knowledge of Greek papyrology and expertise in Ancient Greek and Latin, the cataloguer will be expected to promote the papyrus collection to a wide range of audiences using the Medieval Manuscripts Blog and Twitter feed, as well as participating in events at the Library.
A 6th-century Latin papyrus fragment of a homily by Gregory the Great: Cotton MS Titus C XV, f. 1r
This post provides the opportunity for someone with a strong background in Greek papyrology to join a dynamic and diverse team to support the full digitisation and online presentation of one of the world’s greatest collections of Greek papyri.
To apply, please visit www.bl.uk/careers. Full details of the position (reference 02248) can be found here.
Closing date: 9 September 2018
Interviews will be held on: 19 September 2018
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