19 November 2017
Happy birthday, Statute of Marlborough!
Earlier this month, we celebrated the 800th anniversary of the Forest Charter, Magna Carta’s little sibling. It inspired a new Tree Charter, with accompanying events ranging from bike rides to pole launches. Today, we commemorate the Statute of Marlborough. At 750 years old, issued on 19 November 1267, it’s one of the the oldest pieces of legislation in England still in force today.
The Statute of Marlborough almost didn’t make it to this day. Only four of its twenty-nine sections are still in force. In 2014, the Law Commission made plans to scrap it altogether. The surviving sections are now known as the Distress Act and the Waste Act. The Distress Act states that anyone seeking reimbursement for damages must do so through the courts, while the Waste Act ensures that the tenants do not lay waste, sell or ruin their lands and other resources without special permission. This is still a concern in modern agriculture:
Fermors, during their Terms, shall not make Waste, Sale, nor Exile of House, Woods, Men, nor of any Thing belonging to the Tenements that they have to ferm, without special Licence had by Writing of Covenant, making mention that they may do it; which thing if they do, and thereof be convict, they shall yield full Damage, and shall be punished by Amerciament grievously.
There are eight pieces of English legislation from the 13th century that have not been repealed. One of those is Magna Carta, which was originally issued by King John in 1215; the earliest versions were repealed, with the version now in force dating from 1297.
One of the two sources for the official Latin text of the Statute of Marlborough is held at the British Library (Cotton MS Claudius D II). It forms part of a book collecting English laws — the medieval version of legislation.gov.uk, you might say. You can see the Cotton manuscript of the Statute of Marlborough right now in our free Treasures Gallery, alongside a copy of the Forest Charter that was narrowly saved from destruction and a plan of the waterworks at Waltham Abbey.
The plan of the waterworks at Waltham Abbey is further evidence of how the environment shaped the medieval world. Medieval monasteries aimed to be self-reliant, and water was key to this. This plan of a conduit built in 1220–22 at Waltham Abbey is one of the earliest surviving English maps. The water flows from three round sources at the top, through a filtration system, and into a pipe towards the abbey. It is found in a cartulary made for the abbey, a collection of charters copied into a single volume for reference and preservation. The agreements in this book show that the monks had to negotiate with several different landlords to build across their land.
14 November 2017
Canon tables in the Lindisfarne Gospels now on display
As a text, the canon tables are ubiquitous and fundamental to Christian copies of scripture. Over many centuries copies of the Gospels in Latin, Greek, Coptic, Ethiopic, Armenian, Gothic, Syriac, Georgian or Slavonic begin with these tables. Devised and created in Greek by the early Church Father Eusebius (d. 340), bishop of Caesarea in Palestine, these tables formed a unifying gateway to the fundamental, but multiple narratives of the Evangelists Saints Matthew, Mark, Luke and John. As Eusebius explained in a prefatory letter to his friend Carpianus, he compiled the ten tables (or canons, in Greek) to help the reader ‘know where each of the Evangelists was led by the love of truth to speak about the same things’.
Canon 1 lists passages common to all four Gospels, Canons 2-9 different combinations of two or three Gospels and Canon 10 those passages found only in one Gospel. Building on a system of dividing up the text of the Gospels into verses that he attributed to Ammonius of Alexandria, Eusebius assigned consecutive numbers to sections in each Gospel and used these numbers within his tables to correlate related passages. By this means he adduced the unity of the four narratives without attempting to harmonise them into a single text.
Codex Sinaiticus, the folio currently on display at the British Library: Add MS 43725, f. 201r
The earliest known evidence for the use of the tables occurs in Codex Sinaiticus, an extraordinary 4th-century Greek manuscript that is also the earliest surviving complete New Testament. In Codex Sinaiticus the tables themselves do not survive, but the Ammonian section numbers are included throughout the Gospels. These can be seen in the Gospel of St Matthew currently on display in the British Library’s Sir John Ritblat Treasures Gallery, or viewed in detail on our Digitised Manuscripts website. In Codex Sinaiticus, the section numbers (in Greek characters) are added on the left-hand side of each column in red ink, with the number of the canon table that needs to be consulted for parallel texts of that section.
Section 16, canon 5: a note in the Gospel of St Matthew, a detail from Codex Sinaiticus (Add MS 43725, f. 201r column 2)
For example, in the right-hand page on display in the Gallery, the third number in the second column (in the account of one of Christ’s temptations) is marked as section 16, in Canon 5. Further information about the manuscript is available on the Codex Sinaiticus website, including a full transcription and translation, and in this previous blogpost.
The Golden Canon tables, Constantinople, 6th–7th century (Add MS 5111/1)
One of most splendid illuminated examples of the Canon Tables in Greek are the leaves now known as the Golden Canon Tables, because they are written on parchment previously painted entirely with gold. Made in Constantinople in the 6th or 7th century, the tables are now fragmentary but nevertheless betray a very sophisticated artistic style. They are a rare witness of an early version of these tables.
The pages of the Lindisfarne Gospels currently on display at the British Library: Cotton MS Nero D IV, ff. 14v–15r
Canon tables are also included in the Latin copy of the Gospels known as the Lindisfarne Gospels, which was probably made on the island of Lindisfarne in Northumbria in around 700. The fifth canon, which lists texts that are common in the two Gospels of St Matthew and St Luke, is now on display in the British Library's Treasures Gallery. This is the same canon as that referred to in Codex Sinaiticus, several centuries earlier. The canons in the Lindisfarne Gospels are surrounded by intricately designed micro-architectural decoration, with wonderful intertwined biting birds. You can view them in more detail with the zoom function on the Digitised Manuscripts website, or visit the Treasures Gallery in the coming months.
07 November 2017
Illumination study day at the British Library
A couple of weeks ago we held a very successful study day for the University of the Third Age, with the British Library Learning Centre auditorium filled to capacity. We thought it might be helpful to provide a list of the British Library manuscripts and suggestions for further reading, for those who would like to look at the manuscripts again in more detail.
Dr Alixe Bovey (Head of Research at the Courtauld Institute of Art, London) discussed 'The World in Illuminated Manuscripts'.
Harley MS 7182, ff. 58v–59r, a depiction of the world based on Ptolemy’s Geography
Harley MS 3667, f. 8v, an Isidoran ‘T-O’ map of the world, Annals of Peterborough Abbey
Harley MS 2772, f. 70v, Macrobius, Commentary of Cicero’s Dream of Scipio
Egerton MS 2781, ff. 1v, 48r, 190r, the Neville of Hornby Hours: f.1v: diagram of the cosmos; f. 48r: the seasons; f. 190r: possible depiction of the manuscript’s owner
Harley MS 4940, f. 28r, Matfre Ermengau, Breviari d’amor, angels cranking the universe
Harley MS 4431, f. 187v, the Book of the Queen, a sibyl shows Christine de Pizan the firmament
Harley MS 3647, f. 32r, an astronomical miscellany
Royal MS 1 E VII, f. 1v, the Creation, in a Bible made at Canterbury
Add MS 18719, f. 1r, a Bible moralisée, Creation scenes
Royal MS 2 B VII, f. 1v, the Queen Mary Psalter, God and Lucifer
Add MS 18856, ff. 5v and 7v, a Bible historiale: f. 5v: creation of sun and moon; f. 7v: God resting
Harley MS 616, f. 1r, a Bible, Creation scenes
Royal MS 14 C IX, ff. 1v–2r, Ranulf Higden, Polychronicon, map
Harley MS 2633, f. 53v, commentary on Cicero's De somno Scipionis, mappa mundi
Sloane MS 2435, f. 1r, Aldobrandino of Siena, Le Régime du corps, Creation scene
Miniature of God holding a compass with angels and cherubins, and Lucifer with fallen angels and devils: Royal MS 2 B VII, f. 1v
Scribe and illuminator Patricia Lovett MBE gave us a calligrapher’s view on parchment, the preparation of pens, ink and pigments, and the writing and illumination process. Her recent publication includes lots of examples and discussion: The Art and History of Calligraphy (British Library, 2017).
Dr Kathleen Doyle (Lead Curator, Illuminated Manuscripts, The British Library) focused on the different types of illustration in English Psalters.
Add MS 89250, the Mostyn Psalter
Add MS 42130, the Luttrell Psalter
Cotton MS Vespasian A I, the Vespasian Psalter
Cotton MS Tiberius C VI, the Tiberius Psalter
Cotton MS Nero C IV, the Winchester Psalter
Royal MS 2 B VII, the Queen Mary Psalter
Royal MS 2 A XVI, the Psalter of Henry VIII
Arundel MS 83, the Howard Psalter
Add MS 62925, the Rutland Psalter
Arundel MS 157, a Psalter
Illuminated initial 'Q'(uam) at the beginning of Psalm 83 (84), with a partial foliate border inhabited by a human-headed hybrid creature and geometric line fillers. In the lower margin are two naked wrestlers, one purple and one brown, engaged in a game of foot-wrestling: Add MS 42130, f. 152v
In the afternoon, Dr Mara Hofmann (Sotheby’s) gave us a whistle-stop tour of the highlights of French illuminated manuscripts. Mara has written a detailed guide with lots of examples, as part of the British Library’s online digital Catalogue of Illuminated Manuscripts virtual exhibition, available here.
The programme closed with Dr Scot McKendrick (Head of Western Heritage Collections at the British Library), who similarly illustrated the richness of Flemish Illuminated Manuscripts.
Add MS 34294, f. 133v, Gerard Horenbout, Virgin and Child in Glory, in the Hours of Bona Sforza
Add MS 18855, ff. 109r, 108v, Simon Bening, June, December
Royal MS 2 A XVIII, f. 11v, Master of Beaufort Saints, St Christopher, in the Beaufort/Beauchamp Hours
Add MS 89066/2, ff. 69v–70r, Loyset Liédet, Coronation of the Emperor Galba, in Vengeance de Nostre Seigneur
Harley MS 4418, f. 99r, Créquy Master, Christians fighting Saracens, in the Roman de Mélusine
Cotton MS Vespasian B I, f. 15r, Master of the Harley Froissart, Presentation to Philip the Good
Royal MS 14 E V, f. 29r, Master of the Getty Froissart, Fortune appearing to Boccaccio, in Des cas des nobles hommes et femmes
Add MS 71117, ff. C, J, Simon Marmion, St Matthew and David in Prayer, from the Hours of Ladislas IV Vasa
Add MS 38126, ff. 102v–103r, ff. 240v–241r, Simon Marmion, Virgin and Christ; Virgin and dead Christ, in the Huth Hours
Add MS 18851, ff. 41r, 437r, Gerard David, Adoration of the Kings, Coronation of the Virgin, in the Breviary of Isabella of Castile
Add MS 18852, ff. 411v–412r, St James the Greater, in the Hours of Joanna of Castile
Add MS 54782, f. 230r, Hastings Hours
Add MS 35313, ff. 89v–90r, Master of James IV of Scotland, Nativity and Augustus and the Tiburtine Sibyl, in the Rothschild Hours
Add MS 17280, ff. 24v–25r, Master of the Dresden Prayer Book, Trinity and Monday Hours, in the so-called Hours of Philip the Fair
Add MS 18852, ff. 14v-15r, Fall of Man and Mirror of Conscience, in the Hours of Joanna of Castile
Add MS 24098, f. 18v, Simon Bening, Month of December, in the Golf Book
Egerton MS 1147, f. 229r, Simon Bening (?), Agony in the Garden and Arrest of Christ
Add MS 12531, f. 4r, Portuguese Royal Genealogies
Royal MS 16 F II, f. 89r, Poems of Charles of Orleans
Royal MS 8 G VII, f. 2v, Collection of motets
Miniature with Christ praying on the Mount of Olives, accompanied by a full border with the Betrayal, at the beginning of the Passion of Christ: Egerton MS 1147, f. 229r
Further reading
Christopher de Hamel, Bibles: An Illustrated History from Papyrus to Print (Bodleian Library, 2011)
M. Kauffmann, Biblical Imagery in Medieval England 700-1500 (London, 2003)
Patricia Lovett, The Art and History of Calligraphy (British Library, 2017)
Scot McKendrick, Flemish Illuminated Manuscripts 1400-1550 (London: British Library, 2003)
Scot McKendrick & Kathleen Doyle, Bible Manuscripts: 1400 Years of Scribes and Scripture (London, 2007)
Scot McKendrick and Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London, Thames & Hudson, and the British Library, 2016)
The New Cambridge History of the Bible, 4 vols (Cambridge, 2012- )
Kathleen Doyle
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02 November 2017
How many horns does a unicorn have?
How many horns does a unicorn have? It's the kind of trick question you might encounter when watching the British television series QI. One, I hear you say — everyone knows that. Unicorns only have ONE horn (the clue is in the name). And that's what I used to think too, but it seems we’ve all been duped. Sometimes a unicorn can have TWO horns. I know, right? Whatever next?
A lion-like unicorn: British Library Burney MS 97, f. 18r
I first came across the infamous two-horned unicorn when selecting the objects for the British Library's new exhibition, Harry Potter: A History of Magic (#BLHarryPotter). The printed book illustrated below, on show in the show, has a diagram featuring five different species of unicorn. It was published in Paris in 1694 and is the work of Pierre Pomet, a French pharmacist. Apart from realising that you discover something new every day — it's incredible to learn that so many species of unicorn have been identified — your eye is also drawn to the beast in the lower, left-hand corner. It clearly has a pair of horns. That's cheating, surely?
Five species of unicorn, in Pierre Pomet, Histoire générale des Drogues, traitant des plantes, des animaux et des mineraux (Paris, 1694): British Library 37.h.7., part 2, p. 9
On closer inspection, I learned that the mysterious unicorn in question is known as a pirassoipi. We might be inclined to call it a bicorn. Delving deeper, we learn that it was described as being as large as a mule and as hairy as a bear. But our story then takes a rather distressing turn. Pomet noted that unicorn horn was ‘well used, on account of the great properties attributed to it, principally against poisons’. Unicorns, in other words, were valued for their body parts. The rather grisly image below, taken from a study of the unicorn by Ambroise Paré, published in 1582, depicts in the background the killing and skinning of a pirassoipi. Paré was surgeon to the French Crown and he had a keen interest in strange phenomena (his book also contains chapters on mummies and poisons). In his commentary, he admitted uncertainty whether the body parts of the unicorn would have any medicinal effectiveness.
An Italian unicorn, in Discours d’Ambroise Paré, Conseiller et Premier Chirurgien du Roy. Asçavoir, de la mumie, de la licorne, des venins, et de la peste (Paris, 1582): British Library 461.b.11.(1.), f. 27r
Let's have another look at the unusual unicorn illustrated at the beginning of this blogpost. It's found in a 16th-century Greek manuscript, accompanying a poem by Manuel Philes called On the properties of animals. According to the poem, the unicorn was a wild beast with a dangerous bite: it had the tail of a boar and the mouth of a lion. Distinctly un-unicorn-like, isn't it?
The unicorn with the tail of a boar and the mouth of a lion: Burney MS 97, f. 18r
The unicorn is not the only beast illustrated in this manuscript. Its pages are filled with drawings of herons and pelicans, a wolf and a porcupine, and even a cuttlefish. One of my favourites is the illustration of the mythical centaur: it has a pair of over-extended human arms serving as its front legs. The scribe of this manuscript is named as Angelos Vergekios, a Cypriot who had made his home in France, and the illustrator is said to have been his daughter. Here is a selection of those images to whet your appetite. (A few years ago we completed the digitisation of all the British Library's Greek manuscripts thanks to the generosity of the Stavros Niarchos Foundation: the whole manuscript can be viewed on our Digitised Manuscripts site.) We'd love you to take a look at all of them and to tell us your favourites (please use Twitter or the comments form below).
A heron: Burney MS 97, f. 4r
Owls: Burney MS 97, f. 10r
A lioness: Burney MS 97, f. 16v
A centaur: Burney MS 97, f. 19v
A porcupine: Burney MS 97, f. 26v
Is is safe to go back into the water? A swordfish, narwhal, hammerhead shark and whale: Burney MS 97, f. 31v
An upside-down octopus: Burney MS 97, f. 40r
A cuttlefish: Burney MS 97, f. 41v
And this returns us neatly to the theme introduced at the beginning of this blogpost. It is a central premise of our exhibition, Harry Potter: A History of Magic, that there are lots of things about the real world that we don't properly understand or don't even know about. When the curators started their research a couple of years ago, I could never have imagined that we would have encountered a unicorn with two horns, and that our journey would introduce us at the same time to such a beautifully illustrated manuscript. And now you can show off to your friends too, whenever someone asks "how many horns does a unicorn have?".
Harry Potter: A History of Magic is on display at the British Library in London until 28 February 2018.
Julian Harrison, Lead Curator Harry Potter: A History of Magic and Medieval Historical Manuscripts
We'd love you to follow us on Twitter @BLMedieval.
If you tweet about the exhibition, don't forget to use the hashtag #BLHarryPotter.
01 November 2017
A calendar page for November 2017
Ah, November – the days are shorter and it’s getting colder! Let’s dive into the 11th month as shown in Add MS 36684. If you’d like to know more about this fascinating Book of Hours, see January’s post, and for more on medieval calendars, check out our calendar post from 2011.
Calendar pages for November, from a Book of Hours, St Omer or Théouranne, c. 1320, Add MS 36684, ff. 11v–12r
The first page of November’s calendar is a riot of colour and decoration. Crowning the page is a lizard-bird hybrid creature, with a green head, lurid red lips, red feet and a long, feathered tail.
Detail of lizard creature, Add MS 36684, f. 11v
The right margin – known in medieval manuscript parlance as the ‘gutter’, because it falls between the two bound pages – includes the intriguing combination of a tonsured male head stuck between two long legs. Above him stands a stork-like figure with bright orange, spindly legs and a long, pointed beak.
Right margin, Add MS 36684, f. 11v
November’s labour of the month is arguably the creepiest scene we’ve had in this calendar, but how was it perceived by contemporary audiences? Our labourer wields an enormous axe. The animal in a box next to him is likely a hunting dog used to help capture the boar depicted at the labourer’s feet. The boar is about to be stunned with the back of the axe, before being slaughtered. This method is called ‘poleaxing’ and is the origin of the modern term. A poleaxe is a butcher’s axe with a hammer as well as a blade.
Slaughtering a boar: the labour of the month for November, Add MS 36684, f. 11v
A similar scene of slaughter for the month of December appears in the Bedford Hours (f. 12r), except the figure holds a giant mallet.
Slaughtering livestock at the beginning of winter ensured the animals were killed before they began to lose the weight gained over summer and autumn. Rural communities could then feast on the fresh meat and preserve as much as possible for the year’s meanest months. In fact, Blotmonath (blood month) was the Anglo-Saxon name for November. This may seem sinister to us now, but for them it must have held a promise of winter feasts and nourishment when food was scarce.
November’s calendar finishes on the second page with the zodiac figure of Capricorn, shown as a goat. As we discussed in August’s post, the artist is ahead of himself with zodiac figures; Capricorn is normally shown in December, as its period is December-January.
Capricorn, Add MS 36684, f. 12r
Please do go and browse all of the wonderful Add MS 36684 in high definition on our Digitised Manuscripts site.
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31 October 2017
An excellent day for an exorcism
To celebrate Halloween we are taking a look at the subject of exorcisms. As part of the ongoing England and France 700-1200 joint project with the Bibliothèque nationale de France, the British Library has digitised a 12th-century psalter and collection of prayers (now Harley MS 2928), which includes an interesting exorcism performed in a traditional Christian rite.
Exorcism of salt in a prayer for baptism, from Harley MS 2928, f. 10r
There are several accounts of exorcisms in the Gospels, and from the early Middle Ages, the practice of exorcism has been closely linked to the Christian rite of baptism. Evidence suggests that exorcisms were first performed during baptismal services as early as the 3rd century, in ceremonies to convert pagans to Christianity, and exorcism remained popular in works of liturgy which outlined the services and prayers followed in medieval Christian worship.
Exorcisms were performed on people, but could also be used on animals and even objects. Baptism involved the use of salt and water by a priest to bless a person, symbolising their purity as they were admitted to the Christian faith. As the salt and water were tools of purification, these also needed to be pure themselves to prevent demons from entering the person being baptised. A 12th-century baptism prayer in Harley MS 2928 contains an exorcism for salt and water (ff. 10r–11r) to rid them of any demons that might be lurking within. Below is an extract in Latin from the exorcism of salt, followed by an English translation. The + sign represents when the sign of the cross was made during the ritual:
Exorcizo te, creatura salis, per Deum + vivum, per Deum + verum, per Deum + sanctum, per Deum, qui te per Eliseum Prophetam in aquam mitti jussit
‘I exorcise thee, creature of salt, by the living God +, by the true God +, by the Holy God +, by the God who by the prophet Eliseus commanded thee to be cast into the water’
Full-page miniature of the Baptism of Christ, from Harley MS 2928, f. 16r
The manuscript features later 13th-century illuminations attributed to an anonymous artist known as the 1285 Master, and these miniatures depict biblical scenes including the Baptism of Christ showing him being immersed into blessed water. Several medieval manuscripts contain illuminations depicting exorcisms being performed, such as the Tsar Ivan Alexander Gospels (Add MS 39627). Composed in 14th-century Bulgaria, the Gospels are accompanied by decorated scenes of Christ expelling demons from men. One colourful image depicts a scene from Scripture in which Christ expels demons from a man, which then enter a herd of pigs. The now-possessed pigs rush to a nearby lake and are drowned.
Christ exorcising demons from a man which enter a herd of swine, from the Tsar Ivan Alexander Gospels, Add MS 39627, f. 162v
Exorcisms were just one practice performed in the Christian Church to protect its followers from harm. The collection of prayers in Harley MS 2928 includes three prayers for the absolution of penitents (ff. 12r–v), used by priests to forgive those who may have committed sins. The sinner could confess their misdeeds, and if they wished to be forgiven, the priest would absolve them with prayer. Absolution was an important rite, as having received forgiveness for wrong-doing, that person’s soul could now enter Paradise after death.
Text containing three prayers of absolution for penitents, from Harley MS 2928, f. 12r
The exorcism of salt and water shows that this ritual could be used as a positive force to protect the faithful. Yet, dark rituals did occur outside the authority of the Christian Church. One magical charm survives from the late 4th century (now Papyrus 123) that could be used to summon demons against others and depicts two demons that have been invoked by the charm.
Depiction of demons, from a magical incantation, Egypt, Papyrus 123
It is small wonder then, that exorcisms survive in many forms from the medieval period to protect oneself, one’s animals and objects from demonic possession. The Anderson Pontifical (Add MS 57337) produced in 11th-century England even features an exorcism of bread and cheese.
Happy Halloween!
Prayer to exorcise bread and cheese beginning ‘Incipit exorcismus panis’, from the Anderson Pontifical, Add MS 57337, f. 80v
Alison Ray
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30 October 2017
The Art of the Bible lecture at Dulwich Picture Gallery
All writers will know of the struggles, mental and physical, in completing a project. This is nothing new. In April 1091, the monk Dominicus described his relief at having completed writing out a large-scale copy of the book of Revelation and an associated commentary:
My book is ended … For the scribe it has been hard toil; for the reader it will be uplifting and refreshing. The scribe drains his body of strength, while the reader nourishes his mind. So if you gain anything from this work, forget not the labouring scribe … Those who cannot write think it no work at all. Should you, however, wish to know what labour it entails, I shall tell you how heavy a burden writing is. It brings darkness to your eyes, crooks your back, wrecks your ribs and stomach, pains your kidneys and engenders loathing of your body … As sweet as the home port is to the sailor, so is the final line to a scribe. The end. To God be thanks for ever.
Colophon in which Dominicus describes his relief, from the Silos Apocalypse, Add MS 11695, f. 278r
Dominicus also identified himself and brother Munnio, monks at the abbey of Santo Domingo in northern Spain, as the scribes of the work in an inscription, and possibly also the flowers below it: ‘Scribano Monnio’ and ‘scribano Dominico’.
Detail of flowers possibly identifying the scribes, from Add MS 11695, f. 278r
These scribes' work, now known as the Silos Apocalypse, and illuminated twenty years later with stunning illustrations, is one of the treasures of the British Library. You may like to know that the manuscript is fully digitised, and available on the Library’s Digitised Manuscripts website: the Silos Apocalypse, British Library Additional 11695. It is also featured in the recent book, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames and Hudson and the British Library, 2016).
St John before Christ, with a double-edged sword either side of his mouth, with the Seven Churches represented by arches, Revelation 1:10-20, Add MS 11695, f. 24r
The authors, British Library curators Dr Scot McKendrick and Dr Kathleen Doyle will be discussing their feelings of arriving at the ‘home port’, and hopes that readers will find their work ‘refreshing’, at Dulwich Picture Gallery on 15 November, as part of the lecture series, InSight Lecture Series: Book Illustration: Enriching the Story. For more information and to book tickets, follow this link.
The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames and Hudson and the British Library, 2016)
Scot McKendrick and Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the British Library
Dulwich Picture Gallery
15 November 2017 (10.30–11.30)
Kathleen Doyle
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26 October 2017
The gladiator saint
Gladiatorial games were spectacular shows in the ancient world. In theatres built across the Mediterranean, from the Middle East to the site of the Guildhall in London, professional fighters did battle to entertain the public. The origins of these combats went back to the early Roman Republic, when they probably had magical functions. As part of the funerary rituals, they were sacrifices to the netherworld or played a role in war-magic with gladiators bearing the enemy’s names being gloriously defeated by Roman-looking gladiators to ensure their victory in real battles.
Miniature of a wrestling game from a 15th-century illustrated copy of Virgil’s Aeneid: King's MS 24, f. 88
From the mid-3rd century, however, gladiatorial games became an integral part of city entertainment and political propaganda. Should anyone like to be a successful politician, all he needed to do was to organise a lavish spectacle of games, lasting for several days, accompanied by banquets and scenic performances, and success would be guaranteed. No wonder then that such combats were especially popular in imperial times. Later Roman emperors were constantly trying to outbid their predecessors by funding more and more luxurious games. They recruited gladiators from all over the empire and purchased exotic animals — elephants, lions and bears — to populate their amazing theatres that could even host miniature sea battles.
Fragment of a 3rd-century representation of an arena-scene from Oxyrhynchus: Papyrus 3053
Gladiators, by these times, were professional combatants, some of them fighting as slaves but also for money or fame or simply revenge, not unlike Maximus in Ridley Scott’s 2000 film, Gladiator. From the 1st century CE onwards, a new aspect appeared: Christians, arrested for their faith, started to appear on the stage to serve as mass victims to the slayers.
Details of illustrations showing martyrs tortured in the arena, from the Theodore Psalter, Constantinople, 1066: Add MS 19352, f. 55r
However, we also hear about the opposite: gladiators, warriors and their slayers coould also become saints. In a 14th-century Greek manuscript held by the British Library we find a story about Nestor, a 3rd-century Greek gladiator.
Lection for 26 October from a 14th-century collection of saints lives: Harley MS 5069, f. 178v
On the afternoon of 26 October, so the story relates, the emperor organised luxurious games to celebrate his arrival in Thessalonica. The highlight of the event was when his favourite gladiator, a giant 'barbarian' called Lyaeus, boasted of his numerous victories all over the Empire and challenged the Christians of the city, calling them to fight and defeat him in single combat. The rules were strict: the emperor built a special stage for Lyaeus’s battles, similar to a threshing floor on pillars. Spears, points upward, were planted beneath this platform. When Lyaeus defeated someone in wrestling, he would throw him from the platform onto the forest of spears. No one could beat him in this special combat.
Nestor fighting Lyaeus in the arena before the Emperor Maximianus from the Theodore Psalter, Constantinople, 1066: Add MS 19352, f. 125v
Nestor accepted this challenge. Jumping onto the stage, he knocked down Lyaeus and threw him onto the sharp spears. According to the story, this made him a champion not only of Christianity but also of Hellenism and civilisation. Although Nestor was put to death immediately by the furious emperor for the murder of his favourite wrestler, Nestor's reputation outlived him. He became renowned as the first holy gladiator, celebrated from Greece to England every 26 October.
Nestor slaying Lyaeus from a 12th-century English lectionary: Arundel MS 91, f. 107r
Nestor's story, whatever historical truth might be in it, offers an account of a special type of gladiatorial games. His story also showed how the memory of gladiatorial games was perpetuated in art, texts and the imagination of later generations who — had the old manuscripts not preserved the story — would know little about these ancient games.
Peter Toth
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- Permission to practise medicine
- Tales of Medieval Women
- Medieval Women quiz 2
- Curator of Illuminated Manuscripts
- The Nativity according to St Birgitta
- Choose wisely
- An unknown leaf from the Poor Clares of Cologne
- The arrest of Eleanor Rykener
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