Medieval manuscripts blog

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1193 posts categorized "Medieval"

26 December 2017

You cannot be Sirius

Fans of a certain boy wizard will be familiar with Sirius Black, Harry Potter’s beloved godfather. In the Harry Potter books, Sirius Black was an Animagus, with the ability to turn into a shaggy-haired black dog. This is no coincidence, as his name was inspired by Sirius, the brightest star in the night sky, which lies in the constellation known as Canis major (The Greater Dog). The British Library's exhibition Harry Potter: A History of Magic explores the history, mythology and folklore behind the Harry Potter stories, and we are delighted that it features a wonderful 12th-century astronomical treatise (Cotton MS Tiberius C I), containing an elaborate illustration and description of the constellation Sirius.

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The constellation of Sirius the Dog Star, from Cotton MS Tiberius C I, f. 28r

This manuscript was produced at the Benedictine abbey of St Peter, St Paul and St Andrew in Peterborough, sometime in the early decades of the 12th century. The astronomical treatise it contains is known as the Aratea, being a Latin translation (by Marcus Tullius Cicero) of the Phaenomena by Aratus of Soli. The description of each constellation is accompanied by a pen-drawing of either human or animal figures, with red dots representing the stars. In this instance, the constellation Sirius takes the shape of a dog, with the words written in black ink.

The body of Sirius (and the other figures in this manuscript) is infilled with an account of the origins and history of each constellation. They comprise quotations from the Astronomica written by Hyginus, an astronomical source-book. Sirius, from the Greek seirios aster, meaning ‘scorching star’, was thought to have been named by the Egyptian goddess Isis, because the star shone more brightly than any other. The dog days of summer were so-called because the hottest days of the year traditionally coincided when the Dog Star ascended to rise before the Sun, from late July until August.

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The constellation of Orion, from Cotton MS Tiberius C I, f. 27v

Sirius was also said to be the hunting dog of Orion. The constellation Orion is portrayed in the same manuscript as a man inside a house. According to the Astronomica of Hyginus, Orion was accidentally slain by the goddess Diana, as the result of a challenge that she could not hit him with one of her hunting arrows. To mourn his death, she placed him among the constellations. Bellatrix, meaning ‘female warrior’, is the third brightest star in the Orion constellation. Other figures in the night sky include the Hare, the Eagle, the Swan and the Centaur. The last-named was believed to be highly skilled in augury, that is, the interpretation of omens.

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The centaur was highly skilled in the interpretation of omens: the Centaur constellation, from Cotton MS Tiberius C I, f. 31v

Would you like to stargaze more? This illustrated Aratea has been digitised by the Polonsky Foundation England and France, 700-1200 project. It is now available to view online on our Digitised Manuscripts site. Two other copies of the Aratea can also be seen in full there, one made in 9th-century France and later taken to Canterbury (Harley MS 647) and the other made at Fleury around the year 1000 (Harley MS 2506).

Meanwhile, the wonderful manuscript illustrated above is currently on display in the Astronomy section of the British Library’s major exhibition, Harry Potter: A History of Magic. Tickets can be purchased online, but they are selling extremely fast. The show has to end on 28 February, so catch it while you can.

 

Alison Ray

Follow us on Twitter @BLMedieval

 

Part of the Polonsky Digitisation Project

Supported by

The Polonsky Foundation logo

 

 

24 December 2017

Illuminating the medieval Nativity

One of the British Library's newly digitised manuscripts is well worth a look this Christmas-time (Cotton MS Caligula A VII/1). It was made somewhere in North-East France or Flanders in the 12th century, and it contains eight sumptuous scenes from the early life of Christ. This cycle of images presumably once served as the preface for either a Psalter or a gospel-book.

Here we take a closer look at three key scenes in this manuscript: the Nativity, the Annunciation to the Shepherds and the Adoration of the Magi. Each illuminated page has a luxurious golden background and the artist has used a gorgeously vibrant palette. The miniature of the Nativity has three distinct parts. In the main compartment, Mary is shown resting with the swaddled infant. Below, the midwives bathe the new-born, and beside them Christ is shown in the manger, overseen by an ox and an ass.

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The Nativity: Cotton MS Caligula A VII/1, f. 5r

In the following image, the angels’ appearance to the astonished shepherds offers a visual feast. Note the rich, varied tones used for their wings and robes. One angel relates the good news of the child in the manger. Above, in the celestial realm, the words of a modern Christmas Carol spring to mind, ‘Ding-dong merrily the sky, is riven with angels singing: ‘Gloo-o-o-ria! In Excelsis Deo!’

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The Annunciation to the Shepherds: Cotton MS Caligula A VII/1, f. 6v

In keeping with wider artistic traditions, the three magi, crowned as kings, are portrayed as the three ages of man.

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The Adoration of the Magi: Cotton MS Caligula A VII/1, f. 9r

The eldest wise man, usually Caspar, is shown offering his gift of gold. Look how carefully the artist has rendered his white locks of hair, his lined face and his full beard.

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The aged Caspar: Cotton MS Caligula A VII/1, f. 9r

The full cycle of eight images comprises: the Annunciation (f. 3r); the Visitation (f. 4v); the Nativity (f. 5r); the Annunciation to the Shepherds (f. 6v); the Massacre of the Innocents (f. 7r); the Presentation in the Temple (f. 8v), the Adoration of the Magi (f. 9r); and the Baptism of Christ (f. 10v). We invite you to explore the full sequence on our Digitised Manuscripts site.

 

Amy Jeffs

Follow us on Twitter @BLMedieval

Part of the Polonsky Digitisation Project

Supported by

The Polonsky Foundation logo

20 December 2017

It must be witchcraft

The blockbuster exhibition at the British Library this winter is magical in more ways than one. Harry Potter: A History of Magic features not only original items from J.K. Rowling's own archive and some of the Library's precious manuscripts, but also a number of items borrowed from the Museum of Witchcraft and Magic at Boscastle. We are indebted to the Museum of Witchcraft for their generosity in lending us real witches' cauldrons, broomsticks and wands, alongside crystal balls and a scrying mirror. All of these magical objects help to contextualise the principal theme of this exhibition: that the Harry Potter novels are founded upon centuries of historical tradition, mythology and folklore.

This broomstick is one of our favourite exhibits. It belonged to Olga Hunt, of Manaton in Devon. So the story goes, Olga used to delight in riding her broomstick on Haytor Rocks on Dartmoor every Full Moon, jumping out on unsuspecting campers and courting couples.

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A broomstick belonging to the 20th-century witch, Olga Hunt (©The Museum of Witchcraft and Magic, Boscastle)

This serpentine wand is also in the exhibition, thanks to the kindness of the Museum of Witchcraft. In magical tradition, snakes represent the duality between good and evil (and if you were going to own a wand, what better than having a wand in the shape of a snake?). We have placed it next to one of the British Library's own medieval manuscripts, showing a 'wizard' charming a serpent.

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A serpentine wand (©The Museum of Witchcraft and Magic, Boscastle)

This medieval bestiary describes several mythological snakes, including the cerastes (a horned serpent) and the scitalis (with incredible markings on its back). It then focuses on the emorroris, a type of asp so-called because its bite causes haemorrhages; the victim sweat outs their own blood until they die. The manuscript goes on to explain that the asp can be caught if a conjurer sings to it in its cave, making it fall asleep. This allows the snake charmer (shown holding what seems to be a wand) to remove the precious stone that grows on the asp’s forehead.

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A snake charmer, in a bestiary (England, 13th century): British Library Royal MS 12 C XIX, f. 67r

Another impressive object in Harry Potter: A History of Magic is this cauldron. According to the Museum of Witchcraft, it exploded when three witches were attempting to conjure up a spirit on the beach. They fled in terror, and the cauldron was only later retrieved from where it had landed on the rocks.

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An exploded cauldron (©The Museum of Witchcraft and Magic, Boscastle)

There are a number of Museum of Witchcraft items in the Divination section of the exhibition, including a scrying mirror, which once belonged to the witch, Cecil Williamson (d. 1999). He warned that, if you gaze into it, ‘and suddenly see someone standing behind you, whatever you do, do not turn around’. Also in the same room is this palmistry hand, which accompanies a 14th-century treatise on chiromancy. On the right hand of this medieval manuscript, a vertical line running across the palm reads, ‘this line represents love’. A vertical line running between the middle and index finger has a less fortunate meaning: ‘This line signifies a bloody death and if the line reaches unto the middle of the finger it signifies a sudden death.’ Other lines predict ailments and diseases, such as eye problems and the plague, and mental traits, such as courage, humility and infidelity.

Palmistry Hand

A palmistry hand (©The Museum of Witchcraft and Magic, Boscastle)

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A fortune-telling manuscript (England, 14th century): British Library Royal MS 12 C XII, f. 107r

Harry Potter: A History of Magic is on at the British Library until 28 February 2018. We are extremely grateful to our partners (The Blair Partnership, Pottermore, Bloomsbury Publishing, Google Arts and Culture) for their support, as well as to our many lenders for helping to make the exhibition so magical.

 

Julian Harrison

Follow us on Twitter @BLMedieval

17 December 2017

A medieval recipe for gingerbread

‘Tis the season to be merry, and what better way to celebrate than enjoy a festive treat of gingerbread. A medieval recipe for gingerbread features in a 15th-century English cookery book of extravagant banquets held at the British Library (Harley MS 279). Unlike our modern cake or biscuit-like version of gingerbread, the medieval recipe is more similar to confectionery in texture but experts agree that it will satisfy any sweet-tooth.

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The opening of a medieval recipe for gingerbread, from Harley MS 279, f. 27v

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Continued: a medieval recipe for gingerbread, from Harley MS 279, f. 28r

        Gyngerbrede-

        Take a quart of hony, & seethe it, & skyme

        it clene. take Safroun pouder Pepir, & throw ther-on. take gra-

        tyd Bred, & make it so chargeaunt that it wol be y lechyd.

        then take pouder Canelle, & straw ther on y now. then make yt

        square, lyke as thou wolt leche yt. take when thou lechyst hyt

        an caste Box leves a bouyn y stykyd ther on. on clowys. And

        if thou wolt haue it Red coloure it with Saunderys y now.

The recipe calls for honey, saffron and powdered pepper to be mixed with grated bread. Cinnamon is then added before the gingerbread is shaped and cut into slices, and finally decorated with box leaves attached to cloves. If you wish to colour the gingerbread red, you may add saunders (sandlewood) as dye.

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Miniature of a zinziber, or ginger plant (left) with a zedoary, or turmeric plant, from a medieval herbal, Egerton MS 747, f. 105v

Keen-eyed readers may have noticed that the recipe is missing one key ingredient – ginger! We can speculate that this ingredient may have been left out accidentally by the scribe, but we cannot know for sure. Ginger was a popular spice in more luxurious medieval culinary recipes, especially winter dishes. Along with cinnamon, nutmeg and pepper, ginger was believed to have heating properties, and it was thought to be able to warm the stomach and aid the digestive process. These spices are still found in modern Christmas dinner recipes, so medieval gingerbread will complement your holiday roast nicely.

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Miniature of a banquet with courtiers, servants, and dogs, from Harley MS 4372, f. 215v

 

Alison Ray

Follow us on Twitter @BLMedieval

 

 

 

16 December 2017

Internship on The Polonsky Foundation England and France Project

Thanks to external funding, the British Library is pleased to be able to offer an internship for a doctoral or post-doctoral student in history, art history or other relevant subject to work on The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700-1200. As part of this project, 800 illuminated manuscripts made in England and France before 1200 are being digitised and interpreted for both scholars and the general public. The internship is based in the Ancient, Medieval and Early Modern Manuscripts section of the Western Heritage Department at the Library.

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The Annunciation scene from a 12th-century manuscript: Cotton MS Caligula A VII/1, f. 3r

The focus of the internship will be to assist the curatorial team in all aspects of the project, such as creating and enhancing our Explore Archives and Manuscripts online catalogue records, and publicising them in blogposts and other interpretative material. This may involve writing or researching short descriptions of manuscripts and groups of manuscripts and providing talks for students and visitors. During the internship at the Library, the intern will enjoy privileged access to printed and manuscript research material, and will work alongside specialists with wide-ranging and varied expertise.

This internship is designed to provide an opportunity for the intern to develop research skills and expertise in medieval history and manuscripts, and in presenting manuscripts to a range of audiences. Previous interns have given feedback that they felt a valued member of the team, gained professional confidence and developed their career by carrying out a ‘real’ job with specific duties.

The programme is only open to students who are engaged actively in research towards, or have recently completed, a PhD in a subject area relevant to the study of medieval manuscripts and who have a right to work in the UK full time.

The term of internship is full time (36 hours per week over 5 days) for 6 months. The salary is £10.20 per hour, which is the current London Living Wage. The internship will start in March 2018 or as soon as relevant security checks have been completed.

To apply, please visit www.bl.uk/careers. Full details of this internship (reference 01677) can be found here.

Closing Date: 14 January 2018

Interviews will be held on 2 February 2018. The selection process may include questions about the date and origin of a particular manuscript to be shown at the interview.

 

Tuija Ainonen

Follow us on Twitter @BLMedieval

 

Part of the Polonsky Digitisation Project

Supported by

The Polonsky Foundation logo

 

13 December 2017

British Library manuscripts in Glass exhibition at the Musée de Cluny

Two British Library manuscripts are featured in the exhibition, Le Verre, un Moyen Âge inventif (‘Glass, the Inventive Middle Ages’), at the Musée de Cluny in Paris, which opened on 20 September and runs until 8 January 2018. A collection of miniatures from a treatise on the Vices and Virtues and a 13th-century copy of Roger Bacon’s Opus Maius are two of nearly 150 objects that include glassware, illuminated manuscripts, engravings and paintings as part of an examination of the use of glass throughout the Middle Ages.

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Miniature of a tavern scene with men drinking illustrating Gluttony, and below a cellarer passing up a drink, from a treatise on the Vices and Virtues (fragment), Genoa, c. 1330–1340: Add MS 27695, f. 14r

The scene above is an image originally bound with a 14th-century treatise on the Seven Vices (now Add MS 27695) by a member of the Cocharelli family of Genoa. Possibly used to instruct the children of the family on the seven deadly sins, the painting depicts four men representing Gluttony as they drink in an Italian tavern. The scene also features a variety of glassware: the moderate drinker on the left sips from a glass, the excessive drinkers beside him both drink from bottles and glass, and the drinker on the right has dropped his bottle as he vomits. The cellarer below is passing the drinkers a refilled glass, and his additional glasses are visible on a shelf beside him.

During the 14th century, northern Italy was a leading centre in the production of glass for domestic and scientific use. Venetian glassmakers specialised in making high quality, colourless glassware made from quartz pebbles from the Italian mainland and plant ash from Egypt and Syria. By the Renaissance, the glass industry of Venice was booming with spectacular glassware used to celebrate special occasions across Europe. As prized status symbols in events such as the marriage ceremonies of noblemen and women, Venetian glassware featured opulent glass imitating semiprecious stones, gilding and enamelling.

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Scientific diagram on optics, from Roger Bacon’s Perspectiva, S. England(?), 4th quarter of the 13th century: Royal MS 7 F VIII, f. 54v

As well as domestic glass, medieval glass was used to create scientific apparatuses and invent life-changing tools. The 13th-century English friar and scholar Roger Bacon produced major works on natural philosophy and mathematics, including the Opus Maius, which he sent to the Pope in 1267 or 1268. In this treatise of over 800 pages, Bacon examined topics ranging from celestial bodies to gunpowder. The British Library holds what is thought to be the earliest manuscript copy of several of Bacon’s works (now Royal MS 7 F VIII). This copy features the text of Bacon’s work on optics known as the Perspectiva, in which he describes the properties of light, colour and vision. His study of mirrors and lenses greatly influenced the scientific community, leading to the invention of reading glasses and magnifying glasses. In 1289, the Florentine writer Sandro di Popozo commented in a treatise on the conduct of family that, ‘I am so debilitated by age that without the glasses known as spectacles, I would no longer be able to read and write.’

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Scientific diagrams, from Roger Bacon’s Perspectiva, S. England(?), 4th quarter of the 13th century: Royal MS 7 F VIII, f. 89v

Le Verre, un Moyen Âge inventif runs at the Musée de Cluny, Paris (Musée national du Moyen Âge) from 20 September 2017 until 8 January 2018: see this press release for further details.

 

Alison Ray

Follow us on Twitter @BLMedieval

 

09 December 2017

The destruction of Sappho's works

The British Library is currently hosting the 2017 Panizzi Lectures, delivered by Professor Germaine Greer on the subject of Sappho. The third and final talk in the series will be given on Monday, 11 December, and is titled Sappho: The Shame.

A 3rd-century papyrus containing a fragment of a poem by Sappho.
British Library Papyrus 739

Sappho sang her poems, and there is no evidence she wrote them down herself. However, others in the ancient world did record her poems. The British Library holds a papyrus fragment from the 3rd century which, complemented by a newly identified piece in an American private collection, provides us with an almost complete text of a hitherto unknown poem of Sappho. We've previously blogged about this poem.

A detail from the Theodore Psalter, showing an illustration of a girl with a lyre.
Girl with a lyre from the Theodore Psalter, Constantinople, 1066: Add MS 19352, f. 191r

Another 2nd-century fragment, held at the Bodleian Library in Oxford, is more tantalising. It preserves the closing stanza of another Sappho poem from the end of a papyrus scroll with a short note: '[this is] the first book of the poems – [containing] 1320 lines.'  On this basis, the scroll may have contained 330 of Sappho’s characteristic strophes, making almost a hundred poems. Moreover, the clear designation of the scroll as 'the first' book of the poems indicates that there was probably a second or maybe even a third volume of Sappho’s poems, the majority of which is now lost.

What survives seems to justify Sappho’s poetic fame: she wrote in various styles, verses and voices, mainly about passionate love. This 'subtle flame that runs over her skin', as she describes it in a famous piece, is directed at various individuals: her brother Charaxus, as in the British Library fragment; beautiful boys (one of whom later tradition identified with Phaon, whose unrequited love reportedly made Sappho commit suicide); and a number of girls, including Pyrrha, Cydro and Anactoria, as recorded by the 1st-century Roman poet Ovid.

A detail from a 13th-century manuscript, showing an illustration of book-burning.
Image of book burning, from the start of Aristotle's Physica, England (Oxford?), 3rd quarter of the 13th century: Harley MS 3847, f. 4r

It has often been suggested that it was this love of girls that led to the systematic destruction of Sappho's poetry in the Middle Ages. There is a widespread tradition that, in 1073, Pope Gregory VII ordered that all of Sappho’s works be burnt in Rome as well as in Constantinople. However, this is rather unrealistic: it is unclear how a Roman Pope could command the destruction of texts in Constantinople after the great schism of 1054.

This tradition can probably be traced to a collection of the sayings of the French scholar Joseph Scaliger, published in 1666. Scaliger was probably quoting in turn from a work by Geronimo Cardano, a 16th-century Italian polymath who wrote a book about the transmission of ancient wisdom. Lamenting over the miserable destruction of classical writers in the Middle Ages, Scaliger stated first that Pope Gregory VII in 1073 had ordered the burning of all lascivious Roman writers, and secondly that, in Constantinople in the 4th century, Gregory of Nazianzus, had burnt the works of comedians and lyrical poets, including Sappho. Scaliger’s dubious remark is probably a distorted quotation from Cardano, confusing the two Gregories.

A page from a Greek manuscript, showing the text of the Sermons of Gregory of Nazianzus.
Sermons of Gregory of Nazianzus copied in 972: Add MS 18231, f. 105v

Was Cardano correct? Was it Gregory of Nazianzus who deprived us of the poems of the 'tenth muse', as Sappho was commonly regarded? A closer look at Cardano’s statement reveals that this is also a quotation, taken from the 16th-century scholar Pietro Alcionio, whose book on famous exiles contains his childhood memory of a Greek class by a Constantinople refugee, Demetrios Calkokondylas. He remembers his teacher describing how the Greek Church authorities, supported by the Byzantine emperors, burnt eminent classical Greek poetry, including Sappho’s works, and replaced the burnt poems with those of Gregory of Nazianzus.

Reading Alcionio’s note, it is easy to see how the idea that Gregory of Nazianzus, whose poems were to replace those of Sappho, became twisted into a book-burning inquisitor. However, the question still remains: could the Greek teacher’s information be correct? We have no information whatsoever about the Greek Church burning books other than suspicious or heretic theological works. Did the Byzantine church leaders really burn Sappho's poetry? Was it the flames of Sappho’s burning love that ultimately put her own work on the bonfire?

Peter Toth

Follow us on Twitter @BLMedieval

 

07 December 2017

How to harvest a mandrake

As a general rule, we don't normally give gardening advice on the Medieval Manuscripts Blog. It's just possible, however, that you may have been contemplating the best way to harvest a mandrake. And so here we provide you with some handy tips on cultivating this most notorious of plants, based on manuscripts in the British Library's collections.

A cure for insanity

In the Middle Ages, it was believed that mandrakes (mandragora) could cure headaches, earache, gout and insanity. At the same time, it was supposed that this plant was particularly hazardous to harvest, because its roots resembled the human form; when pulled from the ground, its shrieks could cause madness.

MANDRAKE ROOT low-res

The root of a mandrake, carved to resemble a tiny human, loaned from the Science Museum to the British Library's exhibition, Harry Potter: A History of Magic

Identify your mandrake

You would think this was simple, but it was long believed that there were two different sexes of mandrake (which we have always been tempted to call the 'mandrake' and 'womandrake'). This beautiful 14th-century manuscript was on show in the British Library's Harry Potter: A History of Magic exhibition. It contains an Arabic version of De materia medica, originally written in Ancient Greek by Pedanius Dioscorides, who worked as a physician in the Roman army. Dioscorides was one of the first authors to distinguish (mistakenly) between the male and female mandrake, as depicted here. In fact, there is more than one species of mandrake native to the Mediterranean, rather than two sexes of the same plant.

Or 3366_0299

This mandrake, on the other hand, is quite clearly (ahem) the male of the species ...

C13579-82

Below are two mandrakes, one male, one female, drawn in the lower margin of the Queen Mary Psalter — hanging upside down, their blood is clearly rushing to their heads.

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It's also advisable not to confuse your mandrake with a gonk, with an elephant (yes, they are elephants), or with a dragon.

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Bring a dog

Medieval plant-collectors devised an elaborate method to harvest mandrakes. The best way to obtain one safely was to unearth its roots with an ivory stake, attaching the plant to a dog with a cord. A horn should then be sounded, drowning out the shrieking while at the same time startling the dog, causing it to drag out the mandrake. This medieval mandrake looks resigned to its fate.

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While this mandrake is blushing with shame at the prospect of being pulled out of the ground ...

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This Anglo-Saxon hound has yet to be tied to the mandrake (is that a ball that has distracted it attention?).

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Stuff your ears with earth

Another trick was to stuff your ears with clods of earth before attempting to pull the mandrake from the ground. The gentleman in the red cap below has done exactly this, and is blowing resoundingly upon his horn: perfect technique!

Harley_ms_3736_f059r

 

You can read more about magical mandrakes in our online exhibition, Harry Potter: A History of Magic, in partnership with Google Arts and Culture.

Julian Harrison

Follow us on Twitter @BLMedieval

 

The manuscripts featured in this post

Or 3366: Baghdad, 14th century

Sloane MS 4016: Herbal, Lombardy, 15th century

Royal MS 2 B VII: The Queen Mary Psalter, England, 14th century

Sloane MS 278: Bestiary, France, 13th century

Harley MS 1585: Herbal, Southern Netherlands, 12th century

Sloane MS 1975: Medical and herbal miscellany, England or Northern France, 12th century

Cotton MS Vitellius C III: Herbal, England, 11th century

Harley MS 3736: Giovanni Cadamosto, Herbal, Southern Germany(?), 15th century

 

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