21 November 2020
Camden's Annals PhD studentship
The First History of Elizabethan England: The Making of William Camden’s Annals
The British Library is pleased to invite applications for an AHRC Collaborative Doctoral Award (CDA) PhD studentship, on the making of William Camden's Annals. The studentship will start in the academic year 2021/22 and is funded through the Open-Oxford-Cambridge AHRC Doctoral Training Partnership.
The successful applicant will be based at the University of Oxford, and will be supervised jointly by Dr Alexandra Gajda (Oxford), Dr Neil Younger (Open University) and Julian Harrison (The British Library). This doctoral project will be the first comprehensive study of the making of William Camden’s Annals, one of the most valuable sources on early modern Britain and the reign of Queen Elizabeth I. For more details, please see the advert on the Open-Oxford-Cambridge Doctoral Training Partnership website.
The opening page of William Camden's Annals: Cotton MS Faustina F I, f. 3r
The deadline for applications is 12:00 (midday) on 8 January 2021. Please refer to the advert here for full details of how to apply.
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17 November 2020
Announcing the Acquisition of the Lucas Psalter
We announce today the British Library’s acquisition of the Lucas Psalter, which was made in Bruges for an English patron in the 1480s, at a time when such luxury Flemish books were sought after by English owners.
The manuscript (now British Library, Add MS 89428) is a deluxe Psalter, including the book of the Psalms and other devotional material, such as a calendar and lists of hymns appropriate to various Sunday services throughout the liturgical year. The book has 183 folios, is of large format (305 x 205mm), and is written in a Gothic textura script, presented in two columns. This type of script was more usual in England than the bȃtarde or rotunda scripts used on the Continent. Taken together, the layout and size of the volume more generally suggest that it was intended as a lectern book rather than one for private devotion. It may originally have been intended to form part of a Breviary, which includes the texts necessary to celebrate the various services of the Divine Office throughout the day.
The manuscript was acquired by Thomas Houchon Lucas (1460-1539) of Suffolk, the secretary to Jasper Tudor and Solicitor General under Henry VII. Lucas is identified by the added arms in the manuscript of Lucas and Morieux quarterly, and of these arms impaling Kemys of Monmouthshire. This identifies the owners of the manuscript for whom these arms were added as Thomas Houchon Lucas and his wife Elizabeth Kemys (d. by August 1528) who married in 1486 (or 1489). The manuscript remained in the family and has the bookplate of Thomas Philip Earl de Grey of Wrest Park (1781-1859) inside the upper cover. Thomas Philip succeeded to the titles 2nd Earl de Grey and 6th Baron Lucas of Crudwell in 1833.
The manuscript has a contemporary 15th-century binding of red velvet over wooden boards, with metal bosses at the four corners and in the centre of both covers, and corner pieces in unusual shapes with bird head terminals. Although worn in places, the bosses have protected the velvet and accordingly much of the red velvet is remarkably well preserved given its age. The binding may have been added in London shortly after the book was produced.
We plan to digitise the manuscript and will publish a further blog with more details about the manuscript and its artist, the Master of Edward IV, when it is available on the Digitised Manuscripts website. You can read more about the manuscript in the British Library’s press release.
The Lucas Psalter was purchased by the British Library with the generous support from Art Fund (with a contribution from the Wolfson Foundation), the Bernard H. Breslauer Fund of the American Trust for the British Library and the British Library Collections Trust.
Kathleen Doyle
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15 November 2020
Parchment in prison: imprisoned medieval writers
In 1484, Lewis of Caerleon (d. in or after 1495), a Welsh physician who served Lady Margaret Beaufort and her son (the future King Henry VII), was arrested at the order of King Richard III for his loyalty to the Tudors. Despite being incarcerated at the Tower of London, Lewis obtained writing materials and employed his scientific knowledge to compose several innovative astronomical works. In a newly-acquired collected volume of his scientific works that was finished in the decade after he was released and may have been written under his close supervision (Add MS 89442), Lewis states that he produced some of his astronomical tables — containing calculations for lunar eclipses and solar times — during his incarceration. Lewis is one of several medieval authors who composed original works in prison. On the Day of the Imprisoned Writer, we explore some of their most famous works.
Lewis of Caerleon’s table on solar times ‘newly made in the year of Our Lord 1484 in the Tower of London’ (London or Cambridge, 1485–c. 1495): Add MS 89442, f. 121r
Boethius (c. 480–524), a Roman statesman who had fallen out of grace with the Ostrogoth king Theodoric the Great, is famously known for writing The Consolation of Philosophy — a philosophical work touching on the subjects of free will, happiness, fate and fortune — while awaiting his trail and execution. His work presents a dream-vision in which Lady Philosophy consoles him by highlighting that wealth and power are merely transitory and only internal virtues and qualities can withstand the vicissitudes of fortune. As its central message corresponded with Christian ideas, Boethius’s work became one of the most influential and widely-read books of the Middle Ages.
Boethius visited by Lady Philosophy (Northern France, c. 1425–1475): Add MS 10341, f. 31v
Undoubtedly inspired by Boethius, Thomas Usk (d. 1388), a scrivener and legal clerk of London, wrote his own dream-vision while he was imprisoned and awaiting execution for purported treason. His poem, known as The Testament of Love, sees him visited by Lady Love who, much like Lady Philosophy, discusses the transitory nature of worldly bliss and the superiority of true inner happiness, offering consolation to the author in his state of despair. No manuscript copies of his poem survive, but it gained a wide readership after William Thynne included it in the collected works of Geoffrey Chaucer, late medieval England’s most renowned poet, that he first published in 1532.
The Testament of Love in Thomas Speght’s publication the complete works of Geoffrey Chaucer (London, 1598): Add MS 42518, f. 317v
In 1534, Thomas More (1478–1535), former Lord Chancellor of England, followed Boethius’s example after King Henry VIII had imprisoned him at the Tower of London for refusing to swear the Oath of Supremacy, acknowledging Henry as head of the English Church. Apprehending a painful death, More wrote A Dialogue of Comfort against Tribulation. The book offers consolation to those fearing physical torment: it argues that death by torture is no worse than a natural death and that one can entirely forget about one’s own physical pain by contemplating the suffering that Christ endured for mankind. After his execution, More’s book circulated in manuscript form before becoming widely available in printed publications of his collected works.
Thomas More’s A Dialogue of Comfort against Tribulation (England, c. 1550): Harley MS 1634, f. 1r
But imprisoned authors did not only write ‘books of consolation’. After he was captured at the Battle of Agincourt in 1415, Charles, Duke of Orléans (1394–1465), produced some of the most elegant medieval love poetry during his 25 year-long captivity in England. He is best known for his ‘Book of Love’, a sequence of lyrics presented within the narrative framework of two dreams in which an imprisoned lover pursues Lady Beauty at the court of the love of God; after she dies during his absence, he renounces love before wooing a second lady. The ‘Book of Love’ survives in both French and English versions. The latter, extant in Harley MS 682, contains more than 6500 lines of verse, and may have been composed by Charles himself, since he spoke English fluently.
An English poem by Charles of Orléans, beginning ‘As for farewell farewell farewell farewell / And of farewell more than a thousand score’ (England, 1439–1440): Harley MS 682, f. 147r
The Italian romance writer Rustichello da Pisa (fl. late 13th century) also employed his literary skills when he found himself locked up with the Venetian merchant Marco Polo (1254–1354) at Genoa, then at war with the city-state of Venice. In their prison cell, he penned down the marvellous stories that Polo recounted about how he, together with his father and uncle, had followed the Silk Road deep into Asia to meet Kublai Khan, ruler of the Mongol Empire, serving as his emissary to China for fifteen years before returning to Italy. Although the veracity of Polo’s account is debated, it provided the most detailed and accurate description of Asia that was available at the time. Spiced with marvellous elements, The Travels of Marco Polo became a medieval bestseller and survives in scores of manuscripts today.
The Travels of Marco Polo (Paris, 1333–c. 1340): Royal MS 19 D I, f. 58r
John of Rupescissa (c. 1310–1366x70), a Franciscan friar from Aurillac worked in entirely different genres. Spending much of his life in prison, Rupescissa believed that the many hardships that he had endured there — he contracted the plague and was nearly killed by a fellow prisoner — had prepared him to receive supernatural insights about the world. In a visionary dream, he believed to have seen an infant Antichrist who had been recently born and would soon herald the end of times. He also believed that mankind could protect itself from the upcoming apocalyptic disasters and defeat Antichrist by harnessing the divine powers hidden inside nature through the art of alchemy. This prompted him to write both books about prophecies and ‘alchemical medicine’, such as the Liber de consideratione quintae essentiae omnium rerum (Book on the Consideration of the Quintessence of All Things). Although the papal court at Avignon had declared him mad, his reputation as a prophet helped his works gain wide circulation during the later Middle Ages. You can read more about him in Leah DeVun's Prophecy, Alchemy, and the End of Time: John of Rupecissa in the Late Middle Ages (New York, 2009).
A Middle English translation of Rupescissa’s book on Quintessence (England, 15th century): Sloane MS 353, f. 2r
The works of the medieval authors discussed here were in most cases deeply informed by their experiences of imprisonment. To some degree, this influenced their popularity. Their insights gained and expressed in extreme hardship gave them a credibility and authority that few other authors could claim in speaking about the nature of the world and the human condition.
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13 November 2020
PhD placement on Irish manuscripts
Are you doing a PhD using medieval or early modern manuscripts written in Irish? Perhaps you are considering a curatorial career? We are now advertising an opportunity to do a placement with us in the medieval manuscripts section at the British Library in 2021.
The Library holds a collection of over 200 Irish manuscripts which includes many important medical, literary and legal texts. Two of these manuscripts have recently been on loan. The 16th-century legal and grammatical miscellany compiled by Domhnall Ó Duibhdábhoirenn (Egerton MS 88) was loaned to Galway City Museum in 2019.
An Irish legal and grammatical miscellany: Egerton MS 88, f. 65r
And we loaned the Gospels of Máel Brigte (Harley MS 1802), produced in Armagh in the 12th century, to the Ulster Museum in Belfast this year.
The evangelist symbol of the lion of St Mark: Harley MS 1802, f. 60v
We are now advertising a placement for a PhD student with experience working with manuscripts written in Irish. The placement will focus on creating new online records and updating existing records in our Archives and Manuscripts catalogue. The placement is available for three months full-time, or up to six-months part-time, between May and December 2021. Full details are on our website.
The Library is currently participating in the Digital Resources for the Medieval Gaelic World network, funded by the Arts and Humanities Research Council and the Irish Research Council. This network is focusing on the impact of digitisation on research into medieval Ireland and Scotland. We hope to extend the digital coverage of our Irish manuscripts in the future. The online catalogue records that the placement student works on will be an important first step towards that goal.
As well as working on the catalogue records, the successful applicant will be involved in a range of different curatorial activities. These will include helping to promote awareness and understanding of the Irish manuscripts in the Library’s collection so, if you fit the bill, you could find yourself writing your own posts about Irish manuscripts for this Blog next year.
The scheme is open to all current PhD students who have the right to study in the UK. International PhD students are eligible to apply, subject to meeting any UK short-term study visa requirements. Further details about eligibility, funding, conditions and how to apply are also on our website. The deadline for applications is 5pm on Friday 18 December.
If you have any queries about the placement, you can email our colleagues in the Research Development team ([email protected]) who will be happy to help.
Claire Breay
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12 November 2020
Ottonian imperial style in Echternach Gospel-books
After the break-up of Charlemagne’s empire, his heirs continued his policy of patronising and commissioning great works of art. The king of East Francia, Otto I (d. 973), revived Charlemagne’s title of Holy Roman Emperor in 962, and together with his son and grandson (also Ottos) gave his name to a monumental, imperial artistic style now known as Ottonian art. These emperors and their Salian successors (a subgroup of Franks from the Lower Rhine area), Conrad II (r. 1024-39), and Henry III (r. 1039-56) commissioned some of the finest illuminated Gospel-books ever made.
A small but incredibly lavish group of these manuscripts were produced at the wealthy Benedictine Abbey of St Willibrord in Echternach, in modern day Luxembourg, 16 kilometres (10 miles) from Trier. These include two manuscripts now in the British Library, one in the Harley collection (Harley MS 2821) and one in the Egerton collection (Egerton MS 608).
One of the most remarkable aspects of the Harley Echternach Gospels is their use of fictive textiles as decoration, including facing pages painted to resemble silk before the individual Gospels. In many Echternach manuscripts the patterns are monochrome or in varying shades of the same colour, and include animals familiar from Byzantine silks, often in facing or opposing pairs. In the Harley example the patterns are more colourful and centralized, and resemble the patterns of Late Antique weaving or mosaic floors.
These decorative pages may serve to make the opening of the Gospel text a more revelatory event. In this sense they may be similar to the actual silk curtains remaining in some manuscripts which can be lifted to view individual miniatures, such as those in the Arnstein Bible which we blogged about previously.
In addition to their independent use as carpet pages, the textile patterns are used as marginal decoration for the first time in the Echternach Gospel-books (Nordenfalk, Codex (1971), p. 98). This is seen, for example, in the full border around the Evangelist portrait of St Mark and the facing depiction of the Nativity.
The painting of the figures is also highly stylised, using jewel-like vibrant colours. In content they are indebted to earlier models, with some innovations. For example, according to tradition, St Mark established the Church in Alexandria and was the first bishop there; in the Harley Echternach Gospels, he wears a chasuble, or outer vestment of a bishop, and he makes a gesture of blessing. This contrasts with the more typical portraits in which the Evangelists are depicted in the act of writing out their texts.
Opposite each of the Evangelists in the Harley Echternach Gospels is a full-page scene, reflecting four important episodes arranged in chronological order: the Annunciation faces St Matthew; the Nativity, St Mark; the Crucifixion, St Luke; and the Ascension, St John. This selection may result from the contraction of a much longer narrative cycle that appears in three of the surviving Echternach Gospel-books.
The Echternach Gospel-book in the Egerton collection has been digitised recently as part of The Polonsky Foundation Medieval England and France 700-1200 project. The similarities in composition, content and style with the Harley Echternach Gospels are immediately apparent. For example, the Evangelist portrait of St Mark also depicts him seated frontally, holding a book on his lap and making a gesture of blessing. His chair features dog-head and feet terminals, and St Mark is flanked by columns and curtains, with his symbol of the lion above. Opposite, the Nativity scene parallels the two-level composition in an enclosed architectural space, with the Child and animals above St Joseph and the Virgin.
The Egerton Echternach Gospels is a slightly smaller book and doesn’t include the patterned textile margins that are so prominent a feature of the more elaborate Echternach Gospel-books. However, it retains its thick original oak binding, with a hollow in the front cover. Originally it is likely that this space was filled with an ivory or metalwork plaque, and perhaps relics, indicating the importance and status of this still lavish Gospel-book.
Kathleen Doyle
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Further reading
Carl Nordenfalk, Codex Caesareus Upsaliensis: An Echternach Gospel-Book of the Eleventh Century (Stockholm, 1971).
Henry Mayr-Harting, Ottonian Book Illumination: A Historical Study, 2nd edition (London, 1999), pp. 186-205.
Part of the Polonsky Digitisation Project
Supported by
09 November 2020
Lewis of Caerleon manuscript saved for the nation
In August 1485, as the Battle of Bosworth raged and King Richard III was toppled from the throne of England, an astronomer lay imprisoned at the Tower of London. Lewis of Caerleon, the personal physician to Elizabeth Woodville (wife of King Edward IV) and Lady Margaret Beaufort (mother of King Henry VII), had incurred Richard's wrath by his loyalty to the Tudor cause. Lewis owed his life ultimately to Henry's victory at Bosworth, enabling him to continue his study of eclipses, equinoxes and other astronomical observations.
The opening page of the manuscript: Add MS 89442, p. 1
Following the intervention of the Culture Secretary, on the recommendation of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest, the most significant manuscript of the works of Lewis of Caerleon has recently been acquired by the British Library. Made in the 1480s–90s, and possibly begun while Lewis was held at the Tower, this manuscript has been in private hands for the last 500 years. It contains the most complete collection of his works, including texts that are unattested elsewhere, and is a lavish presentation copy, presumably designed as a gift for an important patron or institution. The manuscript retains its original binding, in near-pristine condition, and contains an unparalleled series of astronomical tables. Its acquisition will allow scholars of medieval astronomy and science — many of whose predecessors were unaware of the manuscript's existence — to identify Lewis's sources, to verify his calculations, and to gain new insight into the significance of his research.
The contemporary, blind-stamped binding of the manuscript: Add MS 89442
Lewis of Caerleon (d. in or after 1495) was born in Wales, before studying medicine at the University of Cambridge and possibly also at Oxford. It has long been recognised that he bridged the gap between medieval Oxford astronomers, such as Simon Bredon (d. 1372) and Richard Wallingford (d. 1336), both fellows of Merton College, and his early modern English successors. It is equally notable that Lewis of Caerleon drew upon the work of Arabic astronomers such as Al-Battānī (d. 929), Jabir ibn Aflah (d. c. 1160), and Abū Ishāq Ibrāhīm al-Zarqālī (d. 1087), all of whom are named in this compilation (‘Albategni’, ‘Geber’, ‘Arzachel’). But Lewis did not merely copy the works of previous astronomers, since he actively improved and expanded upon their observations using his own calculations.
An astronomical table attributed to Lewis of Caerleon, entitled: ‘Tabula equacionis dierum in motu et in tempore per me Lodowycum Caerlyon noviter facta anno domino .1485. in turre Londoniarum’: Add MS 89442, p. 121
Now that this manuscript is publicly accessible online, we anticipate that more will be discovered about the circumstances of its manufacture and its early ownership. There are indications that it was made under Lewis's own supervision, since there are numerous self-references (‘per me Lodowycum’) and annotations throughout the manuscript, while his signature (‘Lewys’) is found in many places. The first recorded owner was the historian and antiquary Sir Henry Spelman (d. 1641), who bought the manuscript on 11 April 1606. It then passed by descent through his family, until being listed as lot 3 in the sale catalogue of Spelman's library by the London bookseller John Harding, auctioned on 28 November 1709. Our manuscript next appears in the sale of the library of Walter Clavell (d. by 1740), before ending up in the library of the Earls of Macclesfield at Shirburn Castle, Oxfordshire. There it remained until the manuscripts of the 9th Earl of Macclesfield were auctioned, with some exceptions including the present volume, at Sotheby’s, London, in 2004–05.
One of astronomical diagrams in the manuscript: Add MS 89442, p. 31
More recently, after leaving the Macclesfield collection, this manuscript had been sold to an overseas purchaser. After the Culture Secretary's intervention, its export was deferred temporarily to allow a UK-based institution to raise the matching funds to buy it. This was especially challenging due to the difficult circumstances brought about by Covid-19, but the British Library was finally able to raise the funds to purchase this manuscript in August 2020. We are extremely grateful to the following for generously supporting the acquisition of this manuscript: the Shaw Fund, the T. S. Blakeney Fund, the Bernard H. Breslauer Fund of the American Trust for the British Library, the British Library Collections Trust, the Friends of the National Libraries, and those who wish to remain anonymous.
An eclipse table attributed to Richard Wallingford and expanded by Lewis of Caerleon: Add MS 89442, p. 65
The newly-acquired manuscript of the works of Lewis of Caerleon has been assigned the shelfmark Add MS 89442. It can be viewed in its entirety on the Library's Universal Viewer, and in due course (once Covid restrictions are lifted) it can be consulted by researchers in our Manuscripts Reading Room. By acquiring the manuscript for the nation, the British Library hopes to encourage more research into the writings of this important medieval astronomer and physician, his relationship to the royal court, and his influence upon later scientists. This manuscript is a remarkable witness to the work of Lewis of Caerleon, and we are delighted that it will now be available for study by future generations.
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03 November 2020
The show must go on! Putting on a play in the 16th century
The 16th century witnessed a huge revival of popular theatre, as playwrights and acting companies experimented with existing dramatic traditions, new literary techniques, and different approaches to performance. This artistic revival included the work of English writers such as William Shakespeare, Christopher Marlowe, and Ben Jonson, as well as playwrights throughout Europe, particularly in Germany, Italy, and France. Surviving manuscripts from this period can give us a real insight into not just how these plays were written, but also how they were performed.
One such volume, now housed in the Harley Collection of the British Library, contains a rare eye-witness account of the premier performance of a French play that took place in the city of Montbrison on 25 February 1588.
The work was written by Loÿs Papon (b. 1533, d. 1599), the canon of the Church of Notre-Dame-d'Espérance and later abbot of Marcilly, and is entitled Pastorelle sur la victoire obtenue contre les Allemands, Reytres, Lansquenets, Souysses et Francoys rebelles a Dieu et au Roy treschretien l'an 1587 (Pastoral on the victory won against the Germans, the Reiters, the Landsknecht, the Swiss, and the French Rebels by God and our most Christian King in the year 1587).
Written in five acts, the play is a celebration of the victories of Henry I (b. 1550, d. 1588), Duke of Guise, against the combined Huguenot, or Protestant, forces at Vimory on 26 October and Auneau on 24 November 1587, two major battles fought during the French Wars of Religion (1562-1598).
The plot of Papon’s play is simple. Rather than depict the conflict between the Catholic and Huguenot armies on stage, Papon’s narrative focuses on a small group of shepherds, whose lives in the French countryside have been in turmoil since the start of the war. In the first half of the play, the audience hears how the war has affected the shepherds during that time – how their crops have been blighted and their lands and possessions looted by invading armies – as they recount their struggles and voice their fears of new dangers that might affect them in the future.
During the third act, however, the shepherds learn about what has taken place during the battles at Vimory and Auneau, and in the course of Acts IV and V, buoyant at the news of Henry’s victories, they celebrate that their once peaceful lives will now be restored.
The manuscript (now Harley MS 4325) was written and illustrated by Loÿs Papon himself, who probably intended it as a presentation copy of the text. The work begins with a dedication from the author addressed to a certain ‘M[onsieur] le duc de Mayne’, who can be identified as Charles de Lorraine (b. 1544, d. 1611), Duke of Mayenne and brother of Henry, Duke of Guise, who led the victorious French army.
The volume also survives with its original 16th-century binding intact. Its red velvet covers feature a collection of different symbols, delicately embroidered with silver, gold and coloured thread, including two hands grasping a sword, a pair of chalices, a crown of thorns, and a single eye appearing above a cloud.
The account of the play’s first performance appears directly after the main text of the work in the manuscript and was also written by Papon. The ‘discours’ or account states that this took place on 25 February 1588 at the Salle de la Diana, in the city of Montbrison, the historic capital of the French region of Forez (now part of Central France), and the playwright’s birthplace.
Papon’s account provides details about all aspects of the production, from the actors and musicians, to the set and the props, and even the composition of the audience. He tells us, for example, that:
- The windows of the Salle were completely covered over, so that the only light came from a collection of 90 torches, made from white wax, which were positioned around the hall.
- The backdrop was split up by three pieces of tapestry, decorated with 10 large paintings at the top, portraits of the French king and queen, and the princes of Guise, and below them another collection of smaller portraits of other important figures of the time: popes, princes and princesses, and members of the nobility.
- The play’s musicians were placed on a scaffold constructed on the right hand side of the stage, and set above a doorway that the actors used to make their entrances and exits.
- The shepherds were dressed in costumes made of taffeta and satin, wore straw hats, and carried shepherds’ crooks. The manuscript also features a series of painted portraits, showing how the central characters looked, dressed in full costume.
- The audience was supposedly composed of between 1300-1400 people (though from the size of the hall that’s slightly hard to believe): ‘gentishomes, que Dames, demoyzelles, gens de Justice, d’Eglise, magistrats, bourgeois, Capitaines, marchandz, et touts pesonnes de qualité’ (gentlemen, ladies, young ladies, Justices, people of the Church, magistrates, the bourgeois, captains, merchants, and all people of quality).
In addition, the volume includes a paper fold-out inserted at the end of Papon’s account, which opens to reveal a watercolour illustration of Act IV, Scene II of the Pastorelle, showing how this scene was staged in the Salle de la Diana. The image suggests that despite the simplicity of the narrative, the production itself was a real spectacle, ambitious in its scale. In the scene, the assembled shepherds, having learnt of the defeat of the Huguenot forces, decide to construct a pyramid on stage, light a fire at its base, sing songs, and dance around it to express their joy at the news.
One of the most significant features of the watercolour is the Salle’s vaulted and vibrantly coloured ‘plafond’ or ceiling, tall enough to accommodate the pyramid’s spire (standing 18 feet high according to Papon’s account), and which is shown adorned with numerous compartments, each one bearing a small coat of arms.
Fortunately, the Salle de la Diana in Montbrison has survived to the present day and is now home to a library that holds over 30,000 books. Its elaborately decorated heraldic ceiling (featuring a total of 1728 coats of arms) was restored during the 19th century, and appears nearly identical to the design reflected in Papon’s illustration of the Pastorelle’s first performance.
This manuscript’s catalogue record has recently been revised as part of the Harley Cataloguing Project. For more information about the project and other recent discoveries, check out our blogpost on cataloguing the Harley manuscripts.
Calum Cockburn
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Further Reading
Loys Papon, Pastorelle sur la victoire obtenue contra les Alemands, Reytres, Lansquenets, Souysses et Françoys rebelles à Dieu et au Roy treschr etien l'an 1587, texte établi, présenté et commenté par Claude Longeon (Saint-Etienne: Centre d'Études Foréziennes, 1976).
Frank Dobbins, 'Music in French Theatre of the Late Sixteenth Century', Early Music History, 13 (1994), 85-122 (pp. 115-21 with plates).
Margaret M. McGowan, 'The Arts Conjoined: A Context for the Study of Music', Early Music History, 13 (1994), 171-98 (pp. 179-80, especially n. 26).
29 October 2020
Byland Abbey ghost stories: a guide to medieval ghosts
On an overcast day in October, the ruins of Byland Abbey in North Yorkshire seem just the place to meet a medieval ghost. Nestled beneath the towering crags of Sutton Bank, the crumbled walls are pensive with memories and secrets. The dramatic outline of a rose window gapes into the sky as though crying out from a past long distant but not wholly dead. Fittingly enough, it was here that a monk wrote down one of the most important collections of ghost stories to survive from medieval Europe.
The stories, twelve in total, were written in the early 15th century on the blank pages of a manuscript containing a collection of rhetorical and theological works, now British Library Royal MS 15 A XX (ff. 140v-143 and ff. 163v-164v). Despite being written in Latin, the language of the Church, the stories are mostly set among the rural communities of North Yorkshire. They are full of references to real local places, names of people and everyday details. Their clear local roots and lack of narrative structure gives them the feeling of folktales and hearsay.
A Latin edition of the stories was published by the great manuscript scholar and horror writer M.R. James in 1922, and English translations are available by A.J. Grant (1924), and Saint Anselm College (2014). But for anyone who hasn’t time to read the stories in full (or doesn’t dare), we’ve condensed the key points into this helpful guide to medieval ghosts. Perhaps it will come in handy this Halloween...
What are medieval ghosts?
The ghosts in the Byland stories are not the evil forces which seek to harm humanity in many modern horror tales. They are mostly people from the community who have died without confessing sins, righting wrongs or otherwise preparing for a ‘good death’. The ghosts cannot get to heaven until these issues have been resolved, so they rise from their graves to seek help from the living.
The sins in question tend to be relatively mundane. Story IX tells of a ghost whose crime is ‘a matter of a sixpence’. In Story VI, the ghost of a canon of Newburgh Priory is tormented for stealing silver spoons. In Story VII, a hired hand is punished for overindulging his oxen, feeding them on his master’s corn and letting them plough the land too shallowly.
The ghosts try a variety of tactics for persuading people to help. Story I tells of an enterprising ghost in the area of Rievaulx who helps carry a sack of beans in return for absolution. In Story III, the rather forlorn ghost of Robert of Kilburn wanders around the village at night, standing at windows and doors, waiting to see if anyone would come out and help. Eventually the priest hears his confession and he is able to rest in peace.
What do ghosts look like?
The Byland ghost stories include some wonderfully gruesome descriptions of the ghosts' appearances. They are clearly envisioned as decaying corpses, rather like modern zombies. In Story III, the ghost speaks not with his tongue but from the inside of his bowels, which are hollow and echoing like an empty cask. The shortest tale, Story V, tells of a man who witnesses a woman carrying a ghost on her back, when ‘he saw the hands of the woman sink deeply into the flesh of the ghost as though the flesh were rotten and not solid but phantom flesh’.
The appearance of these ghosts was clearly influenced by the art of the period. In Story II, the ghost appears ‘in the likeness of a man of great stature, horrible and thin, like one of the dead kings in pictures’—a reference to the popular imagery of the Three Living and the Three Dead Kings.
However, the Byland ghosts are also able to shape-shift and they appear in such assorted forms as: a horse, a revolving hay-cock with a light in the middle, a raven with sparks of fire shooting from its sides, a dog, a she-goat, a bullock without a mouth or eyes or ears, and a revolving piece of canvas (perhaps a precursor to the classic white sheet?).
What should you do if you meet a ghost?
The best thing to do in this situation is to talk to the ghost and find out what it wants. Ghosts aren’t able to speak to living people unless someone conjures them, which involves calling them to speak in the name of God. But if you are planning on meeting with ghosts, you may wish to bring protection. In Story II, when Snowball the tailor goes to keep an appointment with a ghost, he draws a magic circle around himself and uses an array of amulets.
The worst thing you can do if you meet a ghost is to try to resist it. Snowball the tailor finds that his attempts to repel the ghost with his sword are completely ineffectual: it just feels like he’s striking a peat-stack. In Story IX, a ghost follows a man for 80 miles, throws him over a hedge and catches him on the other side. When the man finally speaks to the ghost, it tells him ‘If you’d conjured me in the first place, I wouldn’t have hurt you’.
How do you get rid of a ghost?
The best way to get rid of a ghost is to help it out. In most of the stories, the ghosts will quietly rest in peace once their unfinished business has been resolved. However, some ghosts are more troublesome. Story IV tells of the particularly malevolent ghost of James Tankerlay, rector of Cold Kirby, who walks from his grave at night and blows out the eye of his former mistress. The monks of Byland Abbey take action by having his corpse exhumed and cast into the present-day popular wild swimming spot, Lake Gormire.
Several other stories also hint that ghosts are averse to water: in Story I, the ghost will not cross the river, and in Story II, the ghost screams at the suggestion of meeting by Hodge Beck. This trope of supernatural creatures being unable to cross water has persisted into modern literature such as Dracula and Lord of the Rings.
The Byland ghost stories give us a glimpse of the kinds of tales that were probably once widespread but were rarely written down. They reveal medieval people’s very real fear of death and the uncertainties of what lay beyond, but also a surprising compassion for the undead.
So next time you hear something go bump in the night, don’t be afraid. Chances are the ghost won’t try to throw you over a hedge or do anything more sinister—it just needs a willing ear and a helping hand.
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Further reading
For the Latin text, see:
M.R. James, 'Twelve Medieval Ghost-Stories', The English Historical Review, 37 (1922), pp. 413-22.
For English translations, see:
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