30 March 2022
Deciphering an English exorcism manual
We recently encountered a mysterious medieval manuscript during our current Harley cataloguing project. In the three centuries that it has been in the Harley collection, no one realised the true identity of the manuscript with the shelf-mark Harley MS 2874. Contributing to this may be the fact that its main contents start with a string of illegible and unpronounceable words: ‘Cpnkxratkp malkgnprum spkrkxxm’.
What to make of these strange words? The fact that they are written in red ink suggests that they are part of a title. So what does this manuscript contain? When we turn to the old catalogue of the Harleian manuscripts published in the year 1808, we find the manuscript described as a fragmentary Breviary–a common prayer book used in Christian liturgy–that was written in the 14th century.
But the 1808 catalogue must be incorrect. The manuscript does not contain any texts that one expects to find in a Breviary. Instead, the illegible words appear to be a form of secret writing. They employ a known encryption method in which vowels are replaced with their successive letters in the alphabet. With this method and some knowledge of the Latin language in mind, the title can be deciphered as: ‘Coniuratio malignorum spirituum’. In English, this means: ‘The Conjuration of Evil Spirits’. The manuscript is clearly not a fragmentary Breviary, but a complete copy of an exorcism manual that claims to describe the rituals used to drive out demons from possessed persons in St Peter’s Basilica in the Vatican, Rome.
The Coniuratio malignorum spirituum survives in about 30 printed editions. All of these were published in Rome or Venice in the late 15th and early 16th century. Our Harley manuscript is almost certainly a handwritten copy of one of these printed books, and, based on its script, was copied around the year 1500.
The Harley manuscript differs greatly from the printed versions in that it not only encrypts the text’s title, but also encrypts or abbreviates any further references to the act of conjuring and invoking demons throughout the manuscript. For example, ‘Coniuro te diabole’ (I conjure you Devil) has become ‘Cpnkxrp tf dibbplf’ in code, or ‘9o te diabole’ in abbreviated form, and ‘Memento lucifer’ (I hold Lucifer in mind) has become ‘Mfmfntp lxckffr’.
Since none of the Italian versions contains secret writing, the Harley manuscript was almost certainly encrypted by the scribe who copied it. But why did they do this? For an answer to this question, we need to look into the scribe’s background. An important clue to their identity can be found on the manuscript’s first page. This page is not part of the Coniuratio malignorum spirituum, but rather it contains a text in a different script that is both fragmentary and faded. With the aid of Ultraviolet light it can be identified as a royal pardon from King Henry VI to William Babington (d. 1453), who was abbot of the Benedictine abbey of Bury St Edmunds in Suffolk between 1446 and 1453. It may be the same pardon of debts owed to the Exchequer that Babington and his monastery are known to have received on 23 December 1451.
Importantly, the royal pardon is not a later addition but original to Harley MS 2874. Whoever made the manuscript cut a fragment from the pardon and used the blank parchment on its reverse side for writing the first page of the exorcism manual. This suggests that the scribe was quite possibly a monk of Bury St Edmunds, and certainly based in England.
The English origin of the manuscript is significant because the historian Francis Young argues that there is no evidence for the popularity of Continental exorcism manuals in England at this time (A History of Exorcism in Catholic Christianity (2016), pp. 94-95). This means that the English scribe was probably unfamiliar with the genre of exorcism manuals. Perhaps this made them uneasy about the text’s contents, contributing to their decision to encrypt key parts of the manual. Moreover, they might have been particularly concerned about how future owners could use the manuscript. As Francis Young (p. 103) points out, the Coniuratio malignorum spirituum could be readily used for illicit magical rituals in which communication with demons is sought not to exorcise them but to control and employ them for one’s own purposes.
Its repeated use of the term ‘conjuration’ would have made the exorcism manual especially suitable for the dark arts, as in the instruction ‘I conjure you devil and unclean spirit’ (Coniuro te diabole et spiritus immunde).
Conjurations are often found in magical texts that present formulas for invoking and commanding spirits. According to a 17th-century English magical treatise you should say the following:
‘I conjure and constrain you to fulfil my will in everything faithfully without hurt of my body or soul and to be ready at my call as often as I shall call you’.
In using secret writing, the scribe may have wanted to limit the number of readers of the manuscript to a select and trusted few, perhaps a circle of monks at Bury St Edmunds. If that was their intention, then they seem to have been successful. Since the manuscript was acquired for the Harleian Library on 17 May 1715, cataloguers have not identified its contents, preventing magical practitioners from using it ever since.
This is just one of our many discoveries from the Harley cataloguing project. To read about some of the others, see our previous blogposts about a newly discovered manuscript from Byland Abbey and the lost miracles of St Wulfsige of Evesham. We will keep posting our findings, so keep a close eye on this blog!
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26 March 2022
The secret of a silver clasp
The British Library is home to a huge array of beautiful bookbindings: from velvet and sheepskin chemises, to bejewelled covers, gold-tooled and patterned leather, and ivory friezes. Clasped bindings are a particular favourite of mine. This binding method is intended to protect a book from the effects of dust and light by an element (typically leather or metal) that secures its upper and lower covers. Clasped bindings have been in use for hundreds of years and many beautiful and elaborate examples survive from the Middle Ages.
One manuscript housed at the Library has a particularly special clasped binding. Attached to its green and gold-tooled covers, its small silver clasp is shaped in the form of a lion, with a coiled tail and a curly mane, and its right forepaw raised.
The upper cover and fore-edge of an early 16th-century Book of Hours, with its silver lion-shaped clasp: Egerton MS 1147
The lion-shaped silver clasp: Egerton MS 1147, clasp
The lion alone is a beautiful addition to the manuscript, but it also hides a tantalising secret. On the reverse of the clasp, enclosed within the space directly behind the lion’s head and upper body, an artist has added a delicate engraving. It depicts a female figure, draped in robes, with long flowing hair. Who is this mysterious woman? What is her connection to the silver lion, and why has her portrait been added to the back?
The reverse of the clasp, showing an engraving of a female figure: Egerton MS 1147, clasp
Possible answers to these questions can be found within the pages of the manuscript itself (Egerton MS 1147), recently digitised and available to view in full on our Digitised Manuscripts site. The volume is a Book of Hours — a type of devotional book that was very popular during the Middle Ages — written and illuminated in the Flemish city of Bruges between 1500 and 1515. It contains numerous beautiful illustrations and decorative borders that accompany its calendar and collection of prayers and liturgical and devotional readings.
Christ as Salvator Mundi, at the opening of the Latin Prayer to the Holy Face, ‘Salva sancta facies’: Egerton MS 1147, f. 12r (Image by Isabelle Reynolds-Logue)
One such illustration appears in the lower margin of the opening page of the Latin ‘Salva sancta facies’, or Prayer to the Holy Face. The image shows a woman sitting in an enclosed garden, the outline of a cityscape with numerous turrets and crenellations visible in the background. Before her appears a lion with silver fur wearing a golden crown and collar, its paw outstretched to the woman’s hand. In short, the image displays unmistakeable parallels to the design of the lion-shaped clasp attached to the book’s covers.
A marginal portrait of the ‘Maid of Ghent’ and her lion: Egerton MS 1147, f. 12r detail
The elusive female subject of both the clasp and the marginal illustration can be identified with a symbolic medieval figure known as the ‘Maid of Ghent’. Her story originates in a 14th-century Middle Dutch poem, written by the Flemish author Baudouin van der Lore. It was written at a time when the city of Ghent (in modern-day Belgium) was threatened by the invading army of Louis II, Count of Flanders. Baudouin’s poem details a vision of the Maid stranded in a wood, and relates how she is protected from the machinations of an evil prince by Christ who appears to her in the form of a lion. The poem’s symbolism evidently resonated with the citizens of Ghent and their struggle, and by the beginning of the 15th century, the Maid and her lion had been adopted as the emblem of the city itself.
Numerous examples of the ‘Maid of Ghent’ appear in surviving medieval metalwork, armorial plates and illuminated books produced in the city. The most notable of these is a large military standard, probably painted by a female Flemish artist called Agnes van den Bossche — one of only a few known women artisans from this time — some 40 years before our Book of Hours was made. The banner adopts the same design as the clasp and the illustration above: the Maid holding the crowned lion’s outstretched paw. The lion now appears in an almost burnished gold, but microscopic analysis of the banner and its pigments has revealed it would have originally been silver.
A military standard, depicting the ‘Maid of Ghent’ and her lion, probably painted by Agnes van der Bossche, 1481–1482: courtesy of STAM Museum Ghent
Our Book of Hours is known to have originated in the city of Bruges, where it was worked on by a succession of Flemish artists, but the recurring presence of the figure of the Maid and her lion suggests it may have been intended for a Ghentish owner, for whom this emblem would have had special significance. Moreover, the book remained in Ghent for many centuries after its production. A marginal inscription on one page displays the letters ‘IR’ linked by a lover’s knot: the monogram of a renowned bookbinder, Jan Ryckaert (b. 1516, d. 1573) whose workshop was based in the city. Eventually, it had become part of the collection of the Ghentish bibliophile Pierre Joseph Versturme-Roegiers (b. 1777, d. 1846).
The monogram of the Ghentish bookbinder Jan Ryckaert, showing the letters IR linked by a lover’s knot: Egerton MS 1147, f. 13v
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23 March 2022
Medieval and Renaissance Women — thank you
We recently put out a request for readers to suggest manuscripts for our Medieval and Renaissance Women digitisation project. The call is now closed, but we wanted to say a HUGE 'thank you' to everyone who contributed. We have been thrilled by the response. We received over 60 nominations for manuscripts that have some connection with the lives of women in Britain and Europe between 1100 and 1600. And we were extremely gratified by all your kind comments about our project, either added to the blogpost or sent via Twitter or email.
One manuscript nominated for Medieval and Renaissance Women is this copy of the Rule of the Minorite Order of Sisters of St Clare, illuminated by Sibylla von Bondorff (Swabia, c. 1480): Add MS 15686, f. 32r
We are currently collating these suggestions, and assessing them against our criteria for selection (such as the condition of each manuscript and its suitability for digitisation). We are keeping a list of all the nominations, so that even if they are not selected this time round, we will bear them in mind for future projects, if funding allows. It was great, in any case, to see such a wide variety of manuscripts put forward, in so many different languages, from across the whole period, and relating to so many different subjects, from women's education to domestic and economic life to female health. We are delighted to have so many different ideas to choose from.
Another nomination is a manuscript of the Revelations of Bridget of Sweden, which has several marginal illustrations (England, 15th century): Harley MS 612, f. 78v
The British Library would once again like to thank Joanna and Graham Barker for their generous support for Medieval and Renaissance Women. We will be updating you on this Blog over the coming months about the progress of the project.
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17 March 2022
Irish voyage tales for the holiday of a lifetime
After the last two years of lockdowns and travel restrictions, many of us are dreaming about travelling abroad, for rest or adventure. But where to go? Worry not, dear readers, for help can be found in some of our medieval manuscripts. The medieval Irish also imagined journeys to foreign shores, and there is an entire genre of such voyage tales called immrama, in which explorers travelled West to fantastic islands. There are a number of these immrama among the British Library's Irish manuscripts. Here we pick some of our top island destinations for your consideration.
The recently digitised Harley MS 5280 contains two tales of island-hopping Irishmen: The Voyage of Maeldúin’s Curach (‘Immram curaig Mail Dúin’) and The Voyage of Bran mac Febail (‘Immram Brain Meic Febail’). Maeldúin visited a number of islands after being blown off-course on his quest to avenge his father (you can read more in a previous blog post). The first island that the disoriented sailors came across was full of giant ants, each the size of a foal. They swarmed the beach trying to eat the travellers before they ever made it ashore. Even the most enthusiastic entomologist would have a tough time on this island. If you're determined to visit, we'd recommend looking from a distance as you search for friendlier shores.
Maeldúin and his friends were chased off another island by a horse-like creature, with the legs of a hound, sharp nails and an appetite for sailors. Even after fleeing to their ship, the creature dug up the beach and pelted them with the rubble. For animal lovers, the safest option is the island of birds, which, as the name suggests, is an island full of birds. They do not seem to mind visitors and it is only a few days away by curach to the land of monsters, should you insist on going.
If you want something more relaxing, perhaps try an island divided into four parts by fences of gold, silver, brass and crystal. The inhabitants of this island are excellent hosts, treating their guests to food and drink. But be warned, they take check-out very seriously. When Maeldúin and his friends woke on their third day on this island, they found themselves already back on the curach and the island nowhere in sight.
If you prefer self-catering, a small island containing a fort, some white houses and a playful cat jumping on pillars could be the one for you. Food, drink and comfortable beds will be provided, but you're advised not to take any of the jewellery. One of Maeldúin’s companions tried this and did not make it halfway across the courtyard before the little cat jumped through him like a flaming arrow, reducing him to ash. This is a great destination for lovers of fine food and drink (and cats). We would recommend bringing some cat treats, just in case.
Some of you may be seeking a total escape, a chance to leave all your worries behind. No need to fret, since both Maeldúin and Bran visited islands where you can forget all your troubles (and everything else). Maeldúin encountered an island full of constantly wailing people dressed in black. When one of his companions alighted on the island to investigate, he joined the islanders in their weeping. Two others who went to rescue him were unable to recognise him and also succumbed to the wailing. A further four were successful in their mission to rescue their friends, but had to cover their mouths with their clothes and to avoid looking at the island so as not to succumb to the same fate.
If being surrounded by sobbing strangers is not your idea of a good time, then you might prefer the Island of Joy, the only island Bran visited on his journey. Everyone there will greet you with a smile, or at least they will stare at you in silence. When one of Bran’s crewmembers set foot on the island, he broke out in a grin. If you think this island is for you, prepare for an extended trip. Bran was forced to leave that crewmember behind when he responded to their calls only with more smiling and staring.
The wandering of the clerics of Colum Cille (‘Merugud cléirech Choluim Chille’), found in Add MS 30512, contains a number of ideal locations for foodies. One of the first islands visited by Snedgus and Mac Riagla had a river flowing through it which tasted of milk. While staying with an Irish cleric on an island of cat-headed people, they were treated to their fill of wheat, fish and wine.
There is also the option of an educational trip. On a later island, Snedgus and Mac Riagla found trees covered in birds with golden breasts and silver wings. A large bird in the middle sang the story of Creation, of Christ’s life, and of Doomsday. But make sure to bring an umbrella, as the other birds shook their wings after hearing the story, causing blood to gush from them.
Wildlife, comfort, education, fiery cats — there is an island for everyone. If you want to see more travellers’ tales, check out our previous blogpost Dragons, heroes, myths and magic for more tales of adventure.
Seosamh Mac Cárthaigh
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09 March 2022
Tall tales of the medieval ‘holster book’
If you have a modern medium-sized paperback (also known as B-format in the UK) or an A4-sized notebook at hand, you can check the page proportions of most modern printed material. That is, that the width of the page is between 65 and 70 percent of the height of the page. This relationship between height and width also holds true for most medieval manuscripts. But there are intriguing exceptions to this norm. For instance, there is a subset of medieval books that have remarkably tall and narrow dimensions.
One of the advantages of this unusual format is that it makes it easy to hold the book open with one hand and to turn the page with the other. This suggests that the text within these books may have been referenced while standing up or moving around. They are also often relatively small and portable, and some scholars have suggested that they were meant to hang from a belt or to be kept in a leather ‘holster’. Another theory is that they were easily packed in a saddlebag to take travelling. This is why they are now often called ‘holster books’ or ‘saddle books’.
One late 10th-century English example of such a book is now the first part of a composite manuscript. It mainly contains the Rule of St Benedict (Regula Sancti Benedicti), by St Benedict of Nursia (b. c. 480, d. c. 550). The Rule is a set of guidelines for the spiritual and practical life of a monastic community and was the most important such rule in the early medieval period. Its influence was especially marked during the so-called Benedictine reform movement in England during the second half of the 10th century. The reformers, with the support of King Edgar (r. 959–975), aimed to reinstate strict monasticism following the Rule of St Benedict. In reformed houses, a passage of the Rule was read aloud every day.
This copy is around 230 mm tall and only around 95 mm wide. The proportions of this book were discussed by John Lowden in this virtual exhibition, in which he suggested that it might have been made to fit a recycled ivory plaque used to decorate the book cover. The large writing and short lines of this copy of the Rule would also have assisted with the communal daily readings.
Books used in the liturgy were also quite often made in this format. One example is the Noyon Sacramentary, a book containing the prayers and texts needed to perform Mass and other ceremonies made for the use of Noyon Cathedral in the late 10th century. It has been called a ‘saddle book’ since it might have been meant for use by the bishop of Noyon when he needed to travel to consecrate churches throughout the bishopric. You can read more about its decorated initials and their connections to earlier 9th-century manuscripts in a previous blogpost.
Many tall and narrow books from the late 10th and 12th centuries contain works by classical authors, for instance this copy of the Aeneid by the Roman poet Virgil (b. 70 BC, d. 19 BC) made in the late 12th or early 13th century. Considered Virgil’s masterpiece, the Aeneid soon became a standard text in Latin education and it continued to be used to teach Latin grammar and rhetoric throughout the Middle Ages. It is possible that this book was used by a teacher who needed it constantly at hand, to read aloud from and refer back to, while moving through a classroom setting. Another possible reason for this format specifically for classical poetry is that it fits the generally short lines of verse, such as the hexameter of Latin epic poetry.
It is even more likely that another 12th-century manuscript, which was digitised as part of The Polonsky Foundation England and France Project, was used in a classroom. This book contains the Thebaid by the Roman poet Statius, another Latin epic poem that was a popular text of the medieval school curriculum. As seen on this page, with the end of Book I and beginning of Book II, the layout of its tall and narrow pages left generous outer and lower margins. This was evidently necessary, considering the many marginal and interlinear glosses and annotations that were added subsequently, in several layers and by different hands. This is a sign of its use in a scholarly teaching context.
If you want to learn more about the medieval engagement with ancient Greek and Roman works and authors, check out the article on The classical past on the Polonsky Medieval England and France 700-1200 project website.
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Part of the Polonsky Digitisation Project
01 March 2022
GOLD tickets go on sale
Tickets are now on sale for our upcoming exhibition, Gold. Bringing together fifty spectacular items from around the world, this exhibition explores the use of gold in books and documents across cultures.
For thousands of years, people have found all kinds of ways to incorporate gold into books and documents: gold writing, inscriptions on gold surfaces, gold-illuminated pictures, gold book covers. So intrinsic was gold to the craft of luxury book production that manuscript decoration is known as ‘illumination’ from the use of gold to light up the pages.
Gold has long been considered deeply meaningful. Its extraordinary appearance means that many religions around the world have found gold a fitting way to express the divine. As a rare luxury material, gold was adopted by rulers to convey political messages about their power and wealth.
The exhibition will explore the different techniques employed by craftspeople to incorporate gold into books, including gold leaf (applying thin gold foil), shell gold (painting with powdered gold, which was traditionally kept in seashells), and gold-tooled leather bindings.
It will showcase books and documents from twenty countries, seventeen languages, and five major world religions: Christianity, Islam, Hinduism, Buddhism and Judaism. Exhibits range from 5th/6th-century inscribed gold plates from Myanmar to a 1920s art deco gold-tooled binding from France. There will be plenty of splendid medieval manuscripts on display, including the Harley Golden Gospels made in Germany around 800, which is written entirely in gold ink, and the Golden Haggadah made in Spain around 1320, renowned for its gold-illuminated scenes from Genesis and Exodus.
Gold will be open at the British Library from Friday 20 May - Sunday 2 Oct 2022. You can pre-book your tickets online now. An accompanying book Gold: Spectacular Manuscripts from Around the World is available from the British Library shop.
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Supported by:
The exhibition is supported by the Goldhammer Foundation and the American Trust for the British Library, with thanks to The John S Cohen Foundation, The Finnis Scott Foundation, the Owen Family Trust and all supporters who wish to remain anonymous.
25 February 2022
Meaning in the margins of the Theodore Psalter
The British Library has loaned four manuscripts to an exhibition at the Rietberg Museum in Zurich, In the Name of the Image: Imagery between Cult and Prohibition in Islam and Christianity, which opened on 4 February. The exhibition takes a comparative, cross-cultural perspective to trace the varying approaches of Islam and Christianity towards the use of imagery. On loan from the Library are three lavishly illuminated Persian manuscripts from the 16th-17th centuries, together with one of our most precious illuminated Greek manuscripts, the 11th-century Theodore Psalter (Add MS 19352).
Completed in 1066 at the Stoudion Monastery in Constantinople, the Theodore Psalter is one of the richest illuminated Greek manuscripts to survive. It is named after the monk Theodore, who wrote at the end of the book that he was both the copyist and illuminator. The book contains the Psalter in Greek, distributed in 20 units (kathismata) corresponding to the use of the Psalms in Byzantine liturgy, as well as a poem about the life of the Prophet David and the appendix known as the Biblical Odes. With its 440 coloured illustrations, placed in the margins of its 208 folios, this manuscript is the most fully illuminated Psalter to survive from the Byzantine Empire.
The Theodore Psalter belongs to a special group of illuminated Psalters called ‘marginal psalters’. These manuscripts place the biblical text in the centre of the page leaving ample margins for illustrations that are linked to the corresponding passages of the biblical text with red and blue strokes.
This layout resembles the structure of so-called catena manuscripts, named after the Latin word catena, which means ‘chain’ or, in a more abstract sense, a series of loosely related items, like the links of a chain. These contain biblical commentaries with the biblical text in the centre of the page and the commentary in the margin, organised in dense units or figural shapes. The link between the biblical text and the corresponding units of the catena commentary is marked with an elaborate system of signs and letters which resemble the strokes in the Theodore Psalter.
This similarity in layout between catena commentaries and the illustrations of the marginal psalters often helps us understand the rationale of the illustrations of the Theodore Psalter. Some images of the manuscript do not appear to have any obvious relationship to the texts they are linked to. They depict scenes from the life of Christ or saints, even later historical events, which are seemingly unrelated to the adjacent Psalms. Their connection, however, can be explained if we check the relevant passages in the catena commentaries.
An interesting case is Psalm 45 which is about a royal wedding where the bride is addressed with the words ‘Listen, oh daughter behold and incline your ear … for the king desired your beauty’ (Psalm 45: 11). Right next to this passage in the Theodore Psalter, we see an image of the Annunciation, with the Virgin in the centre flanked by the Archangel Gabriel and the Prophet David.
The connection between text and image becomes clear if we look up the passage in a catena manuscript. In a 17th-century copy of an 11th-century compilation, the passage is explained by a quotation from the 4th-century theologian, Athanasius of Alexandria, who writes that ‘this phrase relates to the Virgin Mary and foreshadows her annunciation by the Archangel Gabriel. David addresses the Virgin as his daughter because she was born from his seed and after him.’
This commentary explains every element of the image in the Theodore Psalter: both the Archangel addressing the Virgin and David, who seems to be talking to her. It looks like a very accurate visualisation of this commentary.
At first sight, the illustration added to Psalm 26:5 (‘I hate the assembly of evildoers and I will not sit with the ungodly’) looks unrelated to the biblical text. It depicts iconoclasts destroying a sacred image. If we check the catena commentaries, however, the short interpretation added to this phrase in the margin of a late 10th-century manuscript equates the ‘evildoers’ of the Psalm with ‘pagans and heretics’.
For the illustrator of the Theodore Psalter, this identification of the ‘evildoers’ as ‘heretics’ meant the heresy of the iconoclasts, who interpreted the biblical commandment against graven images to the letter and destroyed pictures and icons. The illumination visualises this interpretation of the ‘evildoers’ who are represented as they remove the image of Christ from a wall. As a result, the just, who ‘will not sit with the impious’, are identified with the defenders of the icons, St Theodore the Stoudite (759–826) and Patriarch Nicephorus of Constantinople (758–828), who are depicted arguing with the iconoclast emperor.
You can now admire the exceptional animated commentaries of the Theodore Psalter in the exhibition In the Name of the Image at the Rietberg Museum in Zurich until 22 May 2022.
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20 February 2022
Mapping Scotland
The earliest surviving detailed map of Scotland is now on display at the Wardlaw Museum in St Andrews, as part of the British Library’s Treasures on Tour programme. The map was compiled by John Hardyng, who was born in 1377 or 1378, probably in Northumberland, and lived most of his life during the Hundred Years’ War between England and France. He joined the household of Henry Percy (‘Hotspur’) when he was 12 years old, and fought for the Percys in Anglo-Scottish border battles. He also served in France during the reign of Henry V, who sent him on a spying mission to Scotland in 1418. Hardyng is best known for his verse Chronicle of the history of Britain, in which he set out his fervent belief in the right of English kings to rule over Scotland. He was so determined to prove his case that he forged a series of documents purporting to provide corroborating historical evidence.
John Hardyng’s map of Scotland: Lansdowne MS 204, ff. 226v–227r
In 1457, Hardyng presented the first version of his Chronicle to King Henry VI of England, as part of his failed attempt to instigate an invasion of Scotland. The Chronicle is accompanied by this colourful map, spread across two pages, which depicts a very rectangular Scotland with west at the top. Hardyng doubtless drew on his earlier years of reconnaissance in Scotland in compiling his map. It includes much more topographical information and many more towns right across Scotland than in earlier surviving maps. The castles and walls of the towns are remarkably varied, while at Glasgow and Dunfermline the churches are drawn instead. The rivers are very clearly marked, with the River Forth, bridged at Stirling, running from top to bottom, and almost cutting the kingdom in two.
Detail of John Hardyng’s map of Scotland, showing Glasgow, Edinburgh, Dunfermline and St Andrews: Lansdowne MS 204, f. 226v
The level of detail, which Hardyng hoped would help an invading army, is strikingly different from earlier maps of Scotland. There is very little detail relating to Scotland in the small map of the world that was copied in 11th-century England and preserved in the collection of Sir Robert Cotton. East is at the top in this map, and the prominent islands to the north (on the left) are labelled ‘Orkney islands’ in Latin.
Detail of the 11th-century map of the world showing Britain and Ireland: Cotton MS Tiberius B V/1, f. 56v
Matthew Paris (d. 1259) produced several maps of Britain from his monastery at St Albans in Hertfordshire. In this map, included in his Abbreviatio Chronicorum, Scotland is shown in two parts, joined by a bridge at Stirling. Rivers are prominent and many places are labelled, including Glasgow, Edinburgh, Dunfermline, Dundee, Arbroath and Aberdeen, as well as Galloway, Caithness, Sutherland and Orkney.
Detail of a map of Britain by Matthew Paris showing Scotland: Cotton MS Claudius D VI/1, f. 12v
In the mid-1560s, just over a century after John Hardyng compiled his map, the antiquary Laurence Nowell was producing new maps of Scotland. Like Hardyng, Nowell put west at the top in this small map, but he included far more detailed information, making this the most accurate map of Scotland at that time. It has recently been on display at the British Library in the exhibition Elizabeth and Mary: Royal Cousins, Rival Queens.
Map of Scotland by Laurence Nowell: Cotton MS Domitian A XVIII, ff. 98v–99r
John Hardyng’s map is on display at the Wardlaw Museum in St Andrews from 20 February until 3 July 2022. The museum is open seven days a week and entry is free. You can find out more about Hardyng’s life, his Chronicle and his map in James Simpson and Sarah Peverley’s book.
The Treasures on Tour programme is generously supported by the Helen Hamlyn Trust. The British Library is working with other libraries, museums and galleries to share our collections across the UK. Last year we loaned the Gospels of Máel Brigte to the Ulster Museum, as well as the Bodmin Gospels and Pascon Agan Arluth (a Cornish Passion poem) to Kresen Kernow in Redruth, Cornwall, as part of this programme, and we will be announcing additional loans as part of ‘Treasures on Tour’ over the coming months.
Claire Breay
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