In a couple of previous blog posts (Superheroes, True Romance, Blood and Gore and Comic Mania), we demonstrated how medieval picture books easily compete with the action, intrigue and visual appeal of the modern comic book (who could forget the dancing camels of The Old English Hexateuch?!). One of the newest additions to our website of Digitised Manuscripts, Additional MS 15277, offers yet another reason to put down your latest graphic novel.

Moses (with horns) returns from Mount Sinai for the second time, from the 'Paduan Bible Picture Book', Northern Italy (Padua?), c. 1400, Add MS 15277, f. 15r

This Italian manuscript is loaded with tension, violence and transgressive behaviour, bringing to life the Books of Exodus, Leviticus, Numbers, Deuteronomy and Joshua. The manuscript is imperfect at both the beginning and the end (the Books of Genesis and Ruth are now at Rovigo (Biblioteca dell'Accademia dei Concordi, MS 212, a facsimile of which can be ordered in our Reading Room as MS Facsimile 605)). Nonetheless, what remains is an exciting and rich example of a late medieval Bible picture book. From the plagues of Egypt to the conquest of the Promised Land, the Books of the Old Testament are vibrantly animated.

Detail of a miniature of the plague of hail (Exodus 9:22-25), Add MS 15277, f. 7r

 

Bezalel and Aholiab are selected to build the Tabernacle (Exodus 31:1-11), Add MS 15277 f. 15v

 

Detail of a miniature of a fight between an Israelite and a man with an Israelite mother and an Egyptian father who blasphemes (Leviticus 24:10), Add MS 15277, f. 23r

 

Detail of a miniature of the blasphemer being stoned (Leviticus 24:23), Add MS 15277, f. 23v

 

God tells Moses to punish those who have been transgressing with Moabite women and worshipping their gods; Phinehas thrusts a spear through an Israelite man and Midianite woman in the midst of copulation (Numbers 25:1-9), Add MS 15277, f. 51v

 

War against the Midianites (Numbers 31:1-12), Add MS 15277, f. 53r

 

Detail of two miniatures of Joshua killing the King of Makkedah (Joshua 10:28), Add MS 15277, f. 72r

Visit our website of Digitised Manuscripts to explore more incredible images from the Paduan Bible Picture Book.

- Hannah Morcos

 

The British Library is recruiting for a Project Curator, Anglo-Saxon Manuscripts. This is a full time, fixed term position, from 1 September 2015 to 31 December 2018. Full details of the post and how to apply can be found here.

A page from the Vespasian Psalter, in the British Library's collections (Cotton MS Vespasian A I, f. 12r)

The post will provide curatorial support for a major exhibition on the Anglo-Saxons, to be held at the British Library in 2018–19. The successful candidate will be part of a small team within the Library’s Ancient, Medieval and Early Modern Manuscripts Section. Key responsibilities of the post-holder will include: researching manuscripts and drafting text for the exhibition catalogue; contributing to the Library’s online manuscripts catalogue; assisting in the preparation of learning materials; promoting the exhibition on social media; and supporting the organisation of the conference associated with the exhibition.

You will have a post-graduate degree, or its equivalent, in Anglo-Saxon studies or a related discipline. You must have specialist experience of researching Anglo-Saxon manuscripts, a good knowledge of Latin and knowledge of Old English, and have expertise in early medieval palaeography and codicology. Excellent organisation skills are essential, as is the ability to communicate effectively to a wide range of audiences and to meet strict deadlines. Candidates must be able to work independently and as part of a team.

The deadline for aplications is 28 June 2015, and interviews will take place in the week beginning 20 July 2015.

Papyrus 3053, scene from the arena. Found at Oxyrhynchus, Egypt, among documents dating from the third century.

A recent addition to Digitised Manuscripts is one of our true hidden treasures: possibly the oldest illuminated manuscript in the British Library’s collections. Papyrus 3053, also known as P. Oxy. 2470, was found along with a range of third-century documents at Oxyrhynchus in Egypt. Blank on the verso, the recto contains a vivid fragment of a scene from the arena. The papyrus depicts a bear, caught just on the moment of rising up, or perhaps about to leap, to try to catch the figure whose legs are visible in the top left. The hoop in the top right is perhaps a ring through which the figure is aiming to jump. The red swoosh to the right of the fragment is harder to make any sense of, but it seems to serve the purpose of marking off the acrobatic scene from something else. Perhaps it is supposed to designate the curve of the seating at the amphitheatre? Just above the legs of the acrobat are the feet of some letters, reconstructed as ερσωις, though what exactly that might mean (a name, perhaps?) is unclear.

Papyrus 3053, detail of feet of letters, possibly ερσωις

Such feats of acrobatic dexterity, with the goal of escaping wild beasts, were hugely popular in antiquity, and the papyrus calls to mind the words of the late Latin poet Prudentius (348-c. 405), who notes in his poem the Hamartigenia that “rash figures spring with flying leap over wild beasts and sport amid the risks of death” (inde feras uolucri temeraria corpora saltu | transiliunt mortisque inter discrimina ludunt, Ham. 369-70, trans. Thomson). The prevalence of scenes drawn from the world of Roman spectacle in mosaics and in the few illuminated papyri now extant give further attestation of the popularity of these shows (see, for instance, the famous Antinoopolis Charioteers papyrus , or this fine hunting-scene (perhaps a uenatio?) in a Berlin papyrus. Bears were particularly prized: see, for instance, the many references to the difficulties involved in getting good bears for the games in the letters of the fourth-century senator Symmachus, or the splendid scene depicted by Apuleius in the fourth book of his novel the Metamorphoses.

Papyrus 3053, sewing repairs

What was the original context of this fragment? Clearly visible are the remains of some sewing along two vertical folds, similar to the sort of sewing we often find in papyrus codices. However, the fact that these two folds are so close to each other makes it clear that the image was not spread across two facing pages of a codex. It has been suggested that the sewing was intended to repair tears that resulted from the folds. Did this image form part of a bookroll, then, or was it perhaps inserted into a codex? In the absence of further information, it’s impossible to say.

Royal MS 1 D VIII (Codex Alexandrinus) f 41r, detail. Decorated tailpiece at the end of the Gospel of Luke, containing a pomegranate plant and two vines. 5th century.

I mentioned at the beginning that this is possibly the oldest illuminated manuscript in the British Library. We can perhaps exclude papyri that have simple decorative ink coronides on the grounds that these are not illuminations as we would commonly think of them today. But there remains the fact that establishing a clear date for Papyrus 3053 is tricky: while it was found among documents from the third century, there is no hard evidence for dating it exclusively to that century, and we should allow for the possibility that it is from a later period, possibly even the sixth century. Such a dating would make it a near-contemporary of the Cotton Genesis, generally dated to the fifth or sixth century, and later than Codex Alexandrinus (fifth century), which contains tiny miniatures in the tailpiece (such as the one above). Whatever its date, however, Papyrus 3053 is a rare example of a coloured illustration on papyrus, and a precious glimpse into the world of book decoration in the ancient world.

-          Cillian O’Hogan

The big day has finally arrived! Magna Carta, one of the most famous documents in the world is celebrating its 800th birthday. Granted by King John of England at Runnymede, a water meadow on the River Thames, on 15 June 1215, Magna Carta ('The Great Charter') established for the first time that everybody was subject to the law and nobody, not even our rulers, was above the law.

The only surviving photograph of King John signing Magna Carta at Runnymede in June 1215

So here are some Magna Carta facts and figures with which to impress your friends:

• there are 4 surviving copies of the 1215 Magna Carta, 1 of which belongs to Lincoln Cathedral, 1 to Salisbury Cathedral and the other 2 to the British Library
• the documents are written on sheepskin parchment (note: Magna Carta was not written on moleskin as some people claim, you would have needed a pretty huge mole to have written 3,500 words of medieval Latin on it!)
• 1 of the British Library's 1215 Magna Carta manuscripts was damaged in a fire in the 18th century, the other was found in a London tailor's shop in the 17th century (where it may have been about to be chopped up in order to line gentlemen's collars)
• Magna Carta was originally a peace treaty between King John of England (1199-1215) and his rebellious barons; it was never intended as a blueprint for human rights
• Magna Carta was annulled by the Pope just 10 weeks after it had been issued, being described as "shameful, demeaning, illegal and unjust" and declared "null and void of all validity for ever"
• after Magna Carta was annulled, the barons rebelled for a 2nd time and offered the English crown to Prince Louis, son of the king of France; the French invaded England in late 1215
• King John died in October 1216 and was succeeded by his 9-year-old son, Henry III; a new, revised version of Magna Carta was issued, securing the support of the barons and leading to the expulsion of the French
• revised versions of Magna Carta were granted in 1216, 1217 and 1225, and the 1225 version was confirmed by King Edward I and entered onto the statute roll in 1297
• Magna Carta was printed for the first time in 1508 (an English translation of the Latin text was published in 1534)
• Sir Edward Coke (d. 1634) used Magna Carta in the 17th century to challenge the autocratic rule of the Stuart kings; Magna Carta was used at the trial of King Charles I in 1649, stating that nobody could have justice denied or delayed unto themselves
• over the centuries Magna Carta has influenced and been cited by, among others, Sir Thomas More, William Penn, John Wilkes, Thomas Jefferson, Mahatma Gandhi, Helena Normanton, Nelson Mandela and Eleanor Roosevelt
• between 1828 and 1969 most of Magna Carta's clauses were repealed by Parliament, on the grounds that they were obsolete (since they referred to feudal customs) or had been superseded by other laws
• just 3 clauses of Magna Carta remain valid in English law, namely the clause confirming the liberties of the English Church, that confirming the liberties of the city of London and all other cities, towns, ports and boroughs, and this, the most famous clause of all: "No free man shall be seized or imprisoned, or stripped of his rights or possessions, or outlawed or exiled, or deprived of his standing in any way, nor will we proceed with force against him, or send others to do so, except by the lawful judgment of his equals or by the law of the land. To no one will we sell, to no one deny or delay right or justice."

Here are some of the highlights of Magna Carta's year so far.

In February 2015, for the first time in history, the 4 surviving manuscripts of the 1215 Magna Carta were brought together for a unification event at the British Library, before being taken to Parliament for one day.

In March HRH The Prince of Wales opened our major British Library exhibition, Magna Carta: Law, Liberty, Legacy.

To date, the Magna Carta exhibition has been the most successful ever mounted by the British Library, and it remains open until 1 September 2015.

And in May we unveiled Cornelia Parker's new artwork Magna Carta (An Embroidery) at the British Library:

And here he is, King John, reputedly the worst king in English history!

 

Magna Carta: Law, Liberty, Legacy, featuring 2 of the original manuscripts of the 1215 Magna Carta, the Declaration of Independence and US Bill of Rights and even 2 of King John's own teeth, is at the British Library until 1 September 2015.

A short while ago we blogged about Magna Carta's smaller cousin, known as the Charter of the Forest. In 1217, Magna Carta's clauses relating to forest law were removed to a separate document, the Forest Charter. In our current exhibition we have on display a manuscript of the 1225 version of the Forest Charter, with the seal of King Henry III and its original medieval seal bag still attached. (You can also see it on our website and in the catalogue that accompanies our exhibition.) The Forest Charter is a beautifully preserved manuscript, but how has it managed to survive until the present day?

The British Library's 1225 Forest Charter (Add Ch 24712)

A few days ago I was searching through our departmental archives, in quest of information about how the British Museum acquired our manuscript of the Forest Charter (Additional Charter 24712). I'd been prompted to do my search by Professor Nicholas Vincent (University of East Anglia), Principal Investigator of the Magna Carta Project, who is trying to determine the provenance of all the Magna Carta documents. I knew that the British Museum (the ancestor of the British Library) had acquired this item from a certain Mr Cain on 16 August 1875. But what I hadn't realised was the circumstances whereby Cain had acquired it, until I came across the following letter, bound in a volume of departmental correspondence ...

The letter itself is addressed to Edward Bond (d. 1898), Keeper of Manuscripts at the British Museum (1866–78), and it is signed by R. E. Cain. What it reveals about the Forest Charter, and its potential fate, is rather interesting.

 

41 Rathbone Place

August 10th 1875

Dear Sir,

I hasten to give you all the information I can in respect of "King Henry MSS" left with you last Saturday. In 1865, Cutten & Davis of Bassinghall Street sold the stock of a lithographer. Edwin Joseph Pennell of 4, Wood Street, Lambeth bought several lots, he bought Presses, stones & waste Paper. I helped him clear the lots and in the waste paper we found the MSS. left with you, insted [sic] of receiving 4/- for helping I chose rather to have the MSS. which he let me have, of cause [sic] you can write to Mr Pennell at Wood St if you like, I would rather you did not, for if he should find out I have sold the MSS. for £16-0-0 he will want £8-0-0 out of it but of cause [sic] I must leave this to you. I have tried to get the Catalogue from him but he says he cannot find it any where but I am as sure that it came from the sale at Cutten as I am sure of my own existance [sic]. I send you MSS book I bought at a book stall I believe it to be worth something, it's the best book on birds I have ever seen, if you can give me say £5-0-0 or anything less I should be pleased to part with it, I am known to Mr Butler, Francis Harray Esqr. St James's Street, Mr Waller Fleet Street, as always being on the look out for Autographs, MSS and old books.

Yours Faithfully

R. E. Cain

To Bond Esqr.

British Museum

P.S. I did think I should have got more than £16. I thought it would be worth about £40, but of cause [sic] you know the worth and I only think it's worth  R.E.C.

 

So piecing all this together, what can we deduce (apart from the fact that I'm beginning to sound a lot like Sherlock)? According to Mr Cain, the British Library's precious manuscript of the Forest Charter had been found among the waste paper of an unnamed lithographer, bought by one Edwin Joseph Pennell in 1865. Cain had asked to keep the document rather than receiving the 4 shillings he was owed for helping Pennell, and 10 years later he sold it to the British Museum for the more princely sum of £16. Note, however, Cain's rather defective negotiating skills — he believed the Forest Charter ("King Henry MSS") to be worth as much as £40, but he later offered a separate book of birds to the British Museum for around £5 "or anything less"! (The book of birds is now Additional MS 29892, and it dates from the 18th century.) Cain vouched for the fact the original sale had taken place at Cutten & Davis of Basinghall Street (near the Guildhall in the City of London), but he could not procure a copy of the catalogue from Mr Pennell, and nor was he minded that the British Museum should approach Pennell, because otherwise he might demand a share of the loot!

All in all this is a pretty rum tale, and Professor Vincent has observed to me that the report of the alleged discovery of this manuscript reminds him of the British television series Steptoe and Son (set in a rag-and-bone shop). But, if we do take Mr Cain at his word, it does suggest that our magnificent Forest Charter had been thrown away in 1865, only to be rescued quite by chance among some "Presses, stones & waste Paper".

And this manuscript is not the only fortuitous survival among the British Library's collections. Also in our Magna Carta exhibition are two manuscripts of the original Magna Carta, issued by King John in 1215. One of these two precious manuscripts was damaged in a fire in 1731 (and by a subsequent, failed attempt at restoration in the 19th century); the other was reputedly found in a London tailor's shop in the 17th century, where presumably it had been consigned as waste (I often tell our visitors that it would have been chopped up and used to line gentleman's collars). So our Forest Charter joins this lists of some of the greatest documents in history which nearly, but very nearly, didn't make it to the present day.

Julian Harrison

 

PS  We'd love to hear from our readers if they know anything further about the elusive Mr Cain, or Mr Pennell or the sale at Cutten & Davis in 1865. Get in touch with us via Twitter, @BLMedieval

PPS  Our exhibition, Magna Carta: Law, Liberty, Legacy, if you haven't heard, is the largest and most significant ever devoted to Magna Carta, and is on at the British Library until 1 September 2015

The Arts and Humanities Research Council (AHRC) has launched a film to publicise how the research undertaken during the three-year Magna Carta Project which they are funding has underpinned preparation for the Magna Carta exhibition and wider public programme at the British Library this year.

 

 

Claire Breay, Head of Ancient, Medieval and Early Modern Manuscripts at the British Library, is a co-investigator in the project led by principal investigator, Prof. Nicholas Vincent from the University of East Anglia. Other co-investigators are Prof. David Carpenter from King's College London, Prof. Paul Brand from the University of Oxford and Prof. Louise Wilkinson from Canterbury Christ Church University.

Nicholas Vincent and David Carpenter have been members of the Library's advisory group which supported our development of the exhibition's themes and content. They contributed extensively to the catalogue, to our Magna Carta website and to a number of public lectures and debates in our conference centre. They have also been filmed and appear on screens in the exhibition and on our website. This partnership has helped to bring the research from the AHRC-funded project directly to the public through the British Library's exhibition and events programme.

  
David Carpenter and Nicholas Vincent of the Magna Carta Project

The partners in the AHRC-funded Magna Carta Project were at the heart of our research day on 4 February 2015 during the week of the unification of the four 1215 Magna Carta documents. In the week of the Magna Carta anniversary itself, the Magna Carta Project will be holding a conference on 17-18 June at King's College London and on 19 June at the British Library, to present the research findings, together with a wide range of other papers, to mark the culmination of this three-year collaborative research project. The exhibition at the Library runs until 1 September 2015.

Nicholas Vincent (University of East Anglia), David Carpenter (King's College London) and Tessa Webber (University of Cambridge) examining the original manuscripts of the 1215 Magna Carta in February 2015

Over the first few centuries A.D., a change occurred in how people created and consumed books in the Graeco-Roman world. In the early first century, books were on papyrus rolls. By late antiquity, the majority of books were produced as codices, not very different from the books we still use today, and parchment had supplanted papyrus as the writing support of choice. How and why this transition occurred is a question that continues to occupy the attention of anyone interested in the early history of the book. There are three main phenomena that are clearly interrelated: the transition from roll to codex, the transition from papyrus to parchment, and the rise of Christianity. That last factor may come at first as a surprise, but with only a very few exceptions (and even they are disputed) all fragments of the New Testament from the first few centuries are taken from codices, not rolls. But literary texts (especially those written in Greek) continue to be written primarily on rolls until the fourth century. Certainly, it seems that early Christians had a clear preference for the codex form. Does it perhaps mean that the rise of Christianity helped the codex to gain the upper hand, too? We still have too little evidence to tell this story as clearly as we would like, and we are always at the mercy of some new piece of evidence overturning everything we believed to be true. (The recently-discovered Peri Alupias of Galen, for instance, contains references to parchment codices at Rome in the late second century, providing further evidence for the use of the codex form at an earlier stage.) It’s also important to note that the majority of our evidence for the early book comes from Egypt, and we should be cautious about generalising too much from this: Greek books in Egypt may have looked rather different from Latin books in Rome.

Papyrus 745, recto. Fragment of an anonymous historical work, known as the De Bellis Macedonicis. Late first-early second century.

It’s against this backdrop that we present our latest addition to Digitised Manuscripts. Though only a very small fragment (85x50mm, about two-thirds the size of your average smartphone), Papyrus 745 (P. Oxy. I 30) is of particular significance for the early history of the book. It is the earliest fragment of a Latin codex yet known, and perhaps the earliest codex in any language, aside from wax tablets, such as the Posidippius codex. (P. Oxy. 470, a Greek mathematical treatise, is listed on the Leuven Database of Ancient Books as being from the first century, but it is not clear where this date comes from – all studies I have seen report it as being of the third century.) Found along with that great treasure-trove of texts at Oxyrhynchus, it is generally dated to the end of the first century or beginning of the second, primarily based on the script. Indeed, even Grenfell and Hunt, who first edited the fragment in 1898, remarked that the script was very similar to that of the De Bello Actiaco, an epic poem preserved on a papyrus found at Herculaneum (and thus to be dated before the eruption of Vesuvius in A.D. 79).But the fact that the text was in codex form, and written on parchment rather than papyrus, led the first editors to deem it “not earlier than the third century”. A later study by Jean Mallon made clear that the fragment must date from around 100, on palaeographical grounds. Dating ancient book-hands precisely is very difficult, and in our catalogue entry we have dated the manuscript to “Late first-early second century”.

Papyrus 745, verso. Fragment of an anonymous historical work, known as the De Bellis Macedonicis. Late first-early second century.

The text preserved on the manuscript is known as the De Bellis Macedonicis (On the Macedonian Wars), as from the small amount of text we have, it clearly refers to the wars between Rome and Macedonia in the third and second centuries BC. It was initially suggested that it was an extract from Pompeius Trogus’ lost Historiae Philippicae, though a recent study by Alexander Kouznetsov has suggested, based on the fragment’s prose rhythm, that it may be the work of Lucius Arruntius.

Where does this fragment fit into the story of the development of the codex? The fact that it is a parchment codex, and written in Latin, makes it more likely than not that it was created outside of Egypt (Bischoff believed it originated in Italy). We have roughly contemporary evidence for parchment codices from the poetry of Martial, and there is additional evidence (including perhaps from the New Testament, at 2 Tim. 4:13) of parchment notebooks being particularly popular with travellers, as they were more easily transportable than bookrolls. Could we see the fragment then as supporting the hypothesis that the codex grew to prominence in Rome (in contrast to the bookrolls favoured in the East), and that our lack of additional early codices is due largely to the fact that the majority of our early books come from Egypt, and that the Latin-speaking West is seriously underrepresented in the evidence we have? It’s certainly possible. But we must be cautious. With such a small fragment we have no way of knowing, for instance, how large the original page or bifolium would have been, let alone the size of the codex itself. (We can at least be certain that it’s a codex and not a bookroll because it is clearly the same text on both sides, and when bookrolls are reused, the text tends to be upside down on the verso relative to the recto.)

There is far more to say about this fragment, but that will have to wait for another day. This tiny scrap of parchment is invaluable for the glimpse it gives us of what codices looked like in the early Roman Empire, and while the discovery of additional early Latin books would greatly help us to understand more about book production in the first and second centuries, for the moment, the De Bellis Macedonicis is assured of its status as the earliest Latin codex in existence.

-          Cillian O’Hogan

We have been overwhelmed by the critical response to our Magna Carta exhibition. We'd like to take this opportunity to thank everyone who has already visited or has written to us about it, and we hope that many more people will do so before Magna Carta: Law, Liberty, Legacy closes on 1 September 2015. But readers of this blog may be aware that we're always happy to look at things from different angles, and Magna Carta is no different. We were recently approached by the poet Laila Sumpton, who had visited our exhibition and was keen to write a poem about it, reflecting on the nature of rights and our ongoing battle for them.

The poet Laila Sumpton speaking at Keats House

Here we publish Laila's poem. We hope it inspires you, much as Magna Carta as inspired people across the world in the 800 years since it was first granted by King John.

 

Words on sheepskin

We have rights, they are not given-

realised when inked, then acted.

We have rights destroyed, diluted, flouted,

then welded anew in rhetoric fires-

in a law maker wars that buffets our rights

between crown and barons, crown and commons,

with ‘boo’, ‘hurrah’ jousting over green benches.

 

Each decade rephrases our penalties,

our liberties, and the mound of cast-off laws

is growing- as the tailor re-fits skin

over bones and organs, then re-stitches

the tears on the cheek of Lady Justice,

adds to and weakens her muscles before

they argue and anoint her into being.

Whilst crowds gather to watch the few wielders

of libels, pamphlets and brazen placards

as they jump before all the king's horses

all the king's men; trying to put our lady

back together again.

 

Heirs of our rights were etched on a shield

held up by barons against a tyrant crown

laws as big as the sheep they were scratched on

with a few petering off down the legs

and into oblivion.

Above the shrivelled seal, of skeletal John

wrapped in robes with a sword pointing at God

shadows of former words proclaim that-

 

No free man is to be taken

without the lawful judgement of his peers.

That a woman’s word cannot imprison a man-

save on the death of her husband.

That all Welsh hostages must be returned.

That the Church of England shall be free.

That there must not be, under any circumstances,

any more fish weirs in the Thames of Medway.

That no town can be made to build a bridge,

unless they have an ancient oath to do so.

That widows can remain widows if they choose.

That wine, ale and corn should be measured

by the London quarter, everywhere.

That officials cannot partake as they please,

even if they do so in the London quarter.

That the City and their dragons can hold fairs

and be supreme, whilst no man, including the king,

most particularly the king, shall be above the law.

 

They scraped away gold, to reveal a wooden chair,

for below every polished floor is Earth,

and above each roof is sky-

so we still re-sole our boots

to march for the ghost and grandchild

of our Magna Carta.

 

Laila Sumpton

 

Laila Sumpton (@lailanadia) is a member of the Keats House Poets and works in both the poetry and NGO world, hoping to bring the two together. She runs creative writing workshops at museums, charities, hospitals and universities and writes extensively about human rights issues. She co-edited 'In Protest- 150 poems for human rights', published by the University of London's Human Rights Consortium and is working on her first pamphlet with the working title of 'King Arthur in Kashmir.' 

Magna Carta: Law, Liberty, Legacy is on at the British Library until 1 September 2015. The objects on display can also be seen in the exhibition catalogue and on our dedicated Magna Carta website.