We invite you to explore some of the wildlife that can be found in our heraldic manuscripts. Medieval and early modern coats of arms — visual designs symbolising the heritage and achievements of individuals and families — are teeming with animal life. These animals are depicted according to heraldic conventions, but sometimes they also display fabulous features originating from medieval illustrated ‘books of beasts’, known as bestiaries.

It can sometimes be difficult to understand what these borrowings from the bestiary tradition represent. Luckily, we have a guide book at our disposal, namely the 15th-century Middle Scots Deidis of Armorie (found in Harley MS 6149). This ‘heraldic bestiary’ explains what the behaviours and appearances of animals on coats of arms indicate about the origins of specific families. The manuscript containing the Deidis of Armorie has recently been digitised and can be found on our Digitised Manuscripts site. In this blogpost we'll study some extraordinary heraldic animals up close.

The Deidis of Armorie (Scotland, c. 1494): Harley MS 6149, ff. 16v–17r

We start with the heraldic ostrich, happily chomping on its staple food: horseshoes and keys. This imagery originates from the bestiary tradition, which supposed that the animal had remarkable digestive abilities, enabling it to consume and process iron. What does the ostrich's presence on a coat of arms mean? According to the Deidis of Armorie, it signified that the first bearer of these arms ate hard things — in other words, they were as tough as nails — and that they had a defiant nature (‘eite hard thingis and [wes] diffailland of natur’).

The ostrich as a heraldic crest (England, 17th century): Harley MS 4926, f. 8v

Tigers are often depicted on coats of arms gazing into mirrors. According to bestiaries, this imagery illustrated the method by which robbers could steal a tigress’s cub. The cub-nappers would be pursued by the tigress, but could deceive her by dropping a mirror on the ground. The tigress would stop to look into the mirror, mistake her own reflection for her stolen cub, and start nursing it, allowing the thieves to get away. The Deidis of Armorie claims that those who first bore the tiger on their coats of arms were feigning, cunning and deceitful (‘dissimilit, wyly, and double in his dedis’).

The tiger on a coat of arms (England, 4th quarter of the 16th century-1st quarter of the 17th century): Harley MS 6106, f. 68v

The heraldic elephant typically sported a tower or castle on its back. This imagery corresponds with the bestiary tale that male elephants were used in battle, and that men built castles filled with armed soldiers upon them. The Deidis of Armorie interprets a coat of arms inhabited by such an elephant as a sign that its first bearer was large and virtuous, and carried great burdens during their life (‘gret of body and of vertu, berand gret birdingis’).

The elephant on a coat of arms (England, c. 1632): Harley MS 6060, f. 109r

The heraldic pelican is found sitting on its nest while feeding its young with its own blood. Bestiaries told that the father pelican killed his young when they struck him with their wings, and that the mother subsequently revived them with her blood. The Deidis of Armorie explains that whoever first adopted a pelican on his coat of arms took vengeance on his neighbours when they harassed him, but that they were subsequently restored through him as well (‘[þai] wald have vengeance of his nixt nychtpuris quhen þai did oppressioun [bot] nychtburis scalit his blud for till heill þaim of his vengeance’).

The pelican on a coat of arms (England, 16th century): Harley MS 709, f. 22r

The heraldic panther is another wonderful sight. In line with the bestiary descriptions, coats of arms present it as a friendly animal with multi-coloured spots, issuing ‘flames’ out of its mouth and ears. The latter represent the sweet-smelling belch that the animal was wont to issue after a meal. Although the panther is not part of the Deidis of Armorie, Rodney Dennys (The Heraldic Imagination (Fakenham: Cox & Wyman, 1975), pp. 143–44) has pointed out that heraldic manuscripts sometimes interpret the animal’s multi-coloured spots as symbols for the many virtues of the arms’ bearer.  

The panther as a heraldic supporter (England, c. 1600-1609): Harley MS 6156, f. 24r

We end our tour with the heraldic salamander. Bestiaries claimed that the salamander was a fire-resistant animal, and so we find it basking in flames of fire on coats of arms. The salamander is not covered by the Deidis of Armorie , but Dennys suggested that its presence on a coat of arms signified that its first bearer had survived great danger. James Douglas (1426–1488), 9th Earl of Douglas and 3rd Earl of Avondale, was among the first to display the animal on his coat of arms, perhaps alluding to his surviving a failed insurrection against King James II of Scotland, and subsequently escaping to England.

The salamander as a heraldic crest (England, 17th century): Harley MS 5818, f. 13v

If you would you like to see more heraldic animals, and to explore the symbolism behind them, we would encourage you to look out the Deidis of Armorie on Digitised Manuscripts.

The text quoted here can be found in Luuk A. J. R. Houwen, The Deidis of Armorie: A Heraldic Treatise and Bestiary, I, The Scottish Text Society, Fourth Series, 22 (Edinburgh: The Scottish Text Society, 1994).

 

Clarck Drieshen

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Long-term readers of this Blog may know that we periodically publish lists of our digitised manuscripts (our last list was published in June 2019). As a special treat to celebrate the New Year, today we are releasing a new update to our lists of manuscript hyperlinks. We hope this makes it easier for you to explore our amazing digitised treasures.

Jean de Saintré beats his opponent Enguerrand in a joust, from an illustrated copy of Antoine de La Sale’s French romance Le Petit Jean de Saintré, 4th quarter of the 15th century, Paris: Cotton MS Nero D IX, f. 40r 

There are now over 2900 Ancient, Medieval and Early Modern manuscripts on our Digitised Manuscripts website and more are being added all the time. For a full list of what is currently available, please see this PDF: Download Full-list-digitised-mss-dec-2019. This is also available as an Excel spreadsheet: Download Full-list-digitised-mss-dec-2019 (this format cannot be downloaded on all web browsers).

The zodiac sign Leo (Lion) depicted in an illustrated astrological treatise, Georgius Fendulus, Liber astrologiae (Book of astrology), 2nd or 3rd quarter of the 14th century, France or Southern Netherlands: Sloane MS 3983, f. 40r

The Library's Ancient, Medieval and Early Modern team has been busy as ever over the last 6 months, working to make more manuscripts available online. All the images included in this blogpost are from manuscripts that we have digitised since June 2019. To admire our most recent additions to the Digitised Manuscripts site, take a look at this list of manuscripts published since June 2019. PDF: Download Digitised_mss_jun_2019_dec_2019. Excel: Download Digitised_mss_jun_2019_dec_2019.

Illustrations of the punishments of Hell (left) and the drowning of Pharaoh and the Egyptian army in the Red Sea (right), from a 15th-century copy of the Speculum Humanae Salvationis (Mirror of Human Salvation), England, S. E. (London): Harley MS 2838, f. 44r

You can find out how to make the most of Digitised Manuscripts in this previous blogpost. Many images of our manuscripts are also available to download from our Catalogue of Illuminated Manuscripts which is searchable by keywords, dates, scribes and languages.

An illustration of the Annunciation at the beginning of the Hours of the Virgin Mary, early 15th-century Book of Hours, France: Add MS 29433, f. 20r

We hope you have a very Happy New Year and enjoy exploring Digitised Manuscripts!

Visit our Medieval England and France website to discover how to make a medieval manuscript, to read beastly tales from the medieval bestiary, and to learn about medieval science, medicine, monastic libraries and more.

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You may have heard about the medieval knight’s rivalry with the snail, which we featured in this famous blogpost. But knights also had a more fearsome natural adversary, a fabulous creature from Ethiopia or India, with the body of a lion and the wings, head and (occasionally) talons of an eagle. That beast was none other than the griffin.

Images and descriptions of knights fighting griffins abound in medieval art and literature. They range from the woodcarvings on the benches of Norwich Cathedral and St Botolph’s Church at Boston (Lincolnshire) to the margins of medieval manuscripts, such as this Psalter (Add MS 24686), originally intended as a wedding gift for Prince Alphonso (d. 1284), son of King Edward I.

A knight spearing a griffin, in the Alphonso Psalter (England, late 13th century to early 14th century): Add MS 24686, f. 18r

The notion of knights and griffins in combat was influenced by the accounts found in bestiaries and natural encyclopedias. In the English translation of De proprietatibus rerum (‘On the Properties of Things’) by Bartholomaeus Anglicus (Harley MS 614, f. 104v), it was claimed that the griffin ‘greven boþe hors and man’ (‘harms both horses and men’). Another account is found in a fictional travel memoir attributed to Sir John Mandeville, describing the wonders of the Holy Land, Africa and Asia. This evokes the image of the creature carrying a knight on horseback back to its nest:

‘þe gryffoun hath a body gretter þan viij lyonys and gretter and strangere þan C. Eglys for he wyl bere to hys nest flyande a gret hors and a man on hym’

(‘The griffin has a body that is larger than eight lions and larger and stronger than a hundred eagles, since he will carry to his nest a large horse with a man on top of it.’)

A griffin carrying a knight and horse to its nest (eastern England, 2nd quarter of the 15th century): Harley MS 3954, f. 54v

In the Roman d’Alexandre, a 12th-century romance describing Alexander the Great’s legendary exploration and conquest of the world, it was recounted that, after leaving the legendary country of ‘Tradiaque’, Alexander lost many men in a battle with griffins. Eventually, his archers managed to shoot them out of the air. The artist who decorated one manuscript of the Roman d’Alexandre in the late 13th-century (Harley MS 4979) depicted a griffin lifting a knight in full armour into the air, thereby demonstrating its great strength.

Alexander the Great slaying a griffin (northern France or southern Netherlands, 1st quarter of the 14th century): Royal MS 20 A V, f. 67v

A very early representation of a knight fighting a griffin features on a 12th-century wax seal attached to a charter (Harley Charter 44 E 19) in which William Basset, abbot of St Benet of Hulme (1127-1134), Norfolk, granted the lease of the manor of Heigham in Norwich to Richard Basset (I) of Weldon. The seal of Richard Basset features a knight in full chain armour with a Norman helmet and shield, and striking with his sword a griffin holding a naked man in its jaws.

Richard Basset’s seal (England, 1127–1134): Harley Charter 44 E 19

This seal once belonged to Sir Simonds D’Ewes (1602–1650), an antiquary whose collection formed the cornerstone of the Harleian library. In his autobiography, D’Ewes mentioned viewing it on 4 August 1632, and considering it ‘the oldest [seal] that I ever saw’ (J. Halliwell-Phillipps, The Autobiography and Correspondence of Sir Simonds D'Ewes (1845), II, p. 76). Seeing its fragile state, he had it ‘three times tricked out [i.e. outlined] by a most skilful hand, and [I] had two of those copies or draughts very exactly depicted or coloured’.

After acquiring the seal, D’Ewes referred to it as ‘the most precious monument in my library’. Great was his dismay, therefore, when he discovered that a portion containing the griffin's wings and the top of the tail had broken off in 1636. Luckily, he found consolation in the colour copies he had made of it:  

‘[M]y vexation and trouble would have been much the greater had I not preserved the true form and colour of the same seal in those exact draughts I had caused to be identically delineated and coloured from it.’

So far, scholars have known of only one early modern hand-drawn copy of the seal — when it was still more or less intact — made by Sir William Dugdale (1605–1686), antiquary and herald, for Sir Christopher Hatton’s Book of Seals, begun in 1640. We have now discovered an older and possibly more accurate copy while cataloguing the Harley manuscripts. This copy of the seal features in Harley MS 6152, at the end of several hand-drawn reproductions of charters related to the Basset family. According to Humfrey Wanley (1672–1726), Keeper of the Harley collection, the reproductions were made by or at the instruction of Sir Simonds D’Ewes. Next to the copy, someone has added a note in which they testify to its accuracy by comparing it with the original seal. As the note is dated to 15 September 1632, it was made shortly after D’Ewes viewed the seal. All of this suggests that the version in Harley MS 6152 is one of the two colour copies that D’Ewes referred to in his autobiography.

A copy of Richard Basset’s seal (England, before or in 1632): Harley MS 6152, f. 12r

The seal’s symbolic meaning is unknown, but the image of a fabulous creature — such as the dragon or wyvern — devouring a naked man became more common on coats of arms designed during the age of heraldry, from the middle of the 12th century. The knight fighting the griffin may refer to the Basset family’s military valour or expeditions in faraway countries — where griffins were thought to live — during the Crusades. At the very least, we can deduce that medieval artists and heralds were drawing upon centuries-old precedents whenever they illustrated knights and griffins in combat.

 

Clarck Drieshen

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It is midnight on 24th December in the great city of Paris, sometime in the last quarter of the 13th century. Paris is the most populous city in Europe with around 200,000 residents, and it is the centre of learning, government and commerce in France. Tonight all is quiet in the city's many ports, markets, workshops, lecture halls and council chambers, but the sound of chanting is rising from the churches, filling the cold night with warm music. Within the walls of the royal palace on the Île de la Cité, the clergy of the royal chapel of Sainte-Chapelle are celebrating the feast of the Nativity from a beautiful new book.

The reading for Midnight Mass on Christmas Eve, Gospel Lectionary of Sainte-Chapelle: Paris, last quarter of the 13th century, Add MS 17341, f. 10r

The book is a Gospel Lectionary, a collection of the Gospel passages to be read during the mass throughout the year. They are arranged in calendar order, beginning with the season of Advent. The Gospel readings for each day of the year were established in the early Middle Ages and, with a few local variations, were traditional throughout the churches of Western Europe. Like the entire service, the readings are all in Latin.

At Christmas, three masses are performed throughout the day. The reading for Midnight Mass is Luke 2:1-14, which tells how Joseph and Mary travelled to the city of Bethlehem, where Mary gave birth to Jesus in a stable and laid him in a manger. Meanwhile, shepherds watching their flocks were visited by an angel, who announced to them the birth of Christ and explained where to find him.

As the deacon reads the words, he can see the events delicately illustrated in the decorated letter that opens the reading. Almost every one of the readings in this luxurious lectionary begins with an illustrated letter, 262 in total. The letters, known as ladder initials, are slender and towering, divided into horizonal tiers and topped with gothic architectural features, much like the magnificent building for which the manuscript was made.

Decorated initial for the reading for Midnight Mass on Christmas Eve, Gospel Lectionary of Sainte-Chapelle: Paris, last quarter of the 13th century, Add MS 17341, f. 10r (detail)

The upper level of the letter shows the Nativity scene—Mary reclining in bed, Joseph sitting behind, the baby Jesus lying in a high altar-like manger being nuzzled by the ox and the ass. The lower level shows the surprised shepherds and equally surprised sheepdog encountering the angel, who points urgently up to the Nativity above. The top of the initial features alternating Gothic pinnacles and gables, similar to the distinctive exterior of Sainte-Chapelle (below).

Sainte-Chapelle, north facade with alternating pinnacles and gables. (François Deneux / Wikimedia Commons / CC-BY-SA-4.0)

The reading for Dawn Mass on Christmas Day, Gospel Lectionary of Sainte-Chapelle: Paris, last quarter of the 13th century, Add MS 17341, f. 10v

After Midnight Mass, the clergy and congregation of Sainte-Chapelle go to bed, their heads filled with the joyful words and bright images. Later, the community returns to the church for the second service of the day, the Dawn Mass. The reading continues with Luke 2:15-20, in which the shepherds go to Bethlehem, find the Holy Family and glorify God.

Decorated initial for the reading for Dawn Mass on Christmas Day, Gospel Lectionary of Sainte-Chapelle: Paris, last quarter of the 13th century, Add MS 17341, f. 10v (detail)

The decorated letter shows the Nativity in the upper scene, almost but not quite the same as before. Mary has now crossed her arms, and with her wistful expression she seems to illustrate the line of Luke 2:14, 'Mary kept all these words, pondering them in her heart'. She is also now covered by a blue quilt with a red lining, perhaps Joseph's cloak from the previous scene. On the lower level, the shepherds are praising God, two of them reverently raising their arms and one clutching his hands to his heart. Their arrival is signified by the gothic architectural structure under which they now stand. With its pointed arch containing two trilobe arches and a quatrefoil medallion, the structure closely resembles a design that is repeated along the lower walls of Sainte-Chapelle's upper chapel (below).

Sainte-Chapelle, upper chapel, dado of pointed arches each containing two trilobe arches and a quatrefoil medallion (Guilhem Vellut / Wikimedia Commons / CC-BY-2.0)

The reading for Christmas Day Mass, Gospel Lectionary of Sainte-Chapelle: Paris, last quarter of the 13th century, Add MS 17341, f. 11r

The third and most important mass of Christmas, distinguished with the largest and most elaborate decorated initial in the lectionary, was celebrated during the day. The reading is John 1:1-14, 'In the beginning was the Word', which describes how the Word of God created the world and then became flesh in the person of Christ.

In the decorated initial, the six days of Creation, the seventh day of divine rest and the Crucifixion are represented inside barbed quatrefoils. The scenes emphasise the message of the Gospel reading, adding the solemn reminder that Christ's human birth meant that he could die a human death, and so achieve salvation for humanity. The slender column of quatrefoil medallions is reminiscent of Sainte-Chapelle's soaring windows with their panels of geometric glasswork (below).

Sainte-Chapelle, interior facing east with soaring windows (Pierre Poschadel / Wikimedia Commons / CC-BY-SA-3.0)

As the service comes to an end, the clergy and congregation of Sainte-Chapelle gaze around the chapel. The winter sunshine is streaming through the stained-glass windows and the lofty vaults are pointing the way to heaven. Those within sight of the book can see sacred history minutely represented inside letters that echo the architecture of the building. For a moment, the events of the Christmas story seem be to present within the gothic splendour of Sainte-Chapelle. Everyone is filled with wonder as they leave the chapel and head to their Christmas feasts.

The Crucifixion in the decorated initial for the reading for Christmas Day Mass, Gospel Lectionary of Sainte-Chapelle: Paris, last quarter of the 13th century, Add MS 17341, f. 11r

The Sainte-Chapelle Gospel lectionary is currently on view as part of the Sacred Texts display in the British Library's Treasures Gallery, open on the readings for the dawn and daytime masses on Christmas Day. Visit us to see this festive treat in person (check our seasonal opening hours).

Merry Christmas from the Ancient, Medieval and Early Modern Section of the British Library!

Eleanor Jackson

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It has been eight months since tragedy struck Notre-Dame, the iconic cathedral of Paris, when fire broke out on its roof on 15 April 2019. The cornerstone of Notre-Dame was laid in 1163 (though construction on the site may have begun as early as 1160) and it was fully completed around 1250. But the presence of a religious community headed by the Bishop of Paris on the Île de la Cité – the island in the Seine at the heart of Paris – was already long-established. There had been a church or a cathedral there since possibly as early as the 4th century.

Moreover, at the time of the building of the new Gothic cathedral, the cathedral school of Notre-Dame enjoyed a far-reaching reputation, largely due to outstanding scholars such as Peter Lombard (d. 1160) and Peter Cantor (d. 1197). This resulted in close connections between the influential intellectual sphere of Paris and the English ecclesiastical and scholastic elite. Some of these connections are evident in surviving manuscripts that have been digitised as part of the Polonsky Foundation England and France 700-1200 project. 

Initial 'C(um omnes)', with a seated figure possibly representing Peter Lombard teaching a student, introducing the prologue to his Gloss on the Psalms: South-eastern England (Canterbury?), 3rd quarter of the 12th century, Add MS 54229, f. 3r

12th-century Paris was celebrated throughout Europe as the leading place for the study of theology and the liberal arts. One of the personalities that inspired this acclaim was the theologian Peter Lombard (d. 1160) . It was also largely due to him that the cathedral school of Notre-Dame became one of the main schools of the emerging University of Paris.

Originally from Lombardy in north-western Italy, Peter initially lacked any influential French contacts or relations. But by 1145 he had made such a name for himself as a teacher of theology that he was invited to be the magister (‘master’ or ‘teacher’) of the cathedral school of Notre-Dame, and was appointed as Bishop of Paris shortly before his death.

Peter Lombard’s commentary for Psalm 97 (98) beginning with a large blue initial 'C(antate Domino)', while the text of the Psalm itself is written in the margin in red: England, second half of the 12th century, BnF, Latin 17271, f. 189r

Peter’s most influential work, the Four Books of Sentences, became the standard theology textbook for much of the Middle Ages, but his commentaries on the Psalms were also exceptionally widely circulated. The speed with which his works were disseminated is illustrated by the two copies of his commentary on the Psalms digitised by the Polonsky England and France project (Add MS 54229 and BnF, Latin 17271) which were made in England, possibly during Peter’s own lifetime or shortly after his death. You can read more about the innovations in page layout that Peter Lombard’s commentary inspired in this article about the tradition of Glossed Psalters.

Decorated initial 'V(erbum)' beginning the Verbum abbreviatum of Peter Cantor: Byland Abbey in North Yorkshire, 1st quarter of the 13th century, Add MS 35180, f. 3r

During the first phase of the building of the new Notre-Dame cathedral, another exceedingly influential theologian called Peter became closely associated with the cathedral chapter. It is unclear when he arrived in Paris to teach, but around 1183 he had become the Cantor of Notre-Dame, and is therefore known as Peter Cantor, or Peter the Chanter (d. 1197). The position of Cantor was the second highest in rank of the members of the cathedral chapter. The Cantor’s work involved managing the activities of the choir: for example, supervising liturgical services and teaching the choristers. However, based on documentary evidence of his activities, it seems that Peter mainly focused on teaching theology and engaging in church government.

In the 1190s Peter assembled his teachings on practical morality developed during his long career as a theology lecturer into the work Verbum abbreviatum (roughly ‘Abridged sayings’). This text quickly became popular throughout Europe and almost 100 copies are known to have been in circulation during the medieval period.

The explicit of the Verbum abbreviatum written in red; southwestern England (Tewkesbury?), 4th quarter of the 12th century-1st quarter of the 13th century, Cotton MS Claudius E I, f. 173v

Two manuscripts containing the Verbum abbreviatum (Add MS 35180 and Cotton MS Claudius E I) were copied in England and are especially early examples of the text. Indeed, the oldest of the two (Cotton MS Claudius E I) might have been copied as early as the year of Peter Cantor’s death. This early date is suggested by the ending statement, or explicit, of the text:

‘[Here] ends the Verbum abbreviatum of Master Peter, the foremost Chanter of Paris, afterwards a novice of Longpont, in which place he died [as a] novice.’ 

(Explicit verbum abbreviatum magistri Petri primus cantoris Parisiensis, postea novicii Longipontis, in quo novicius defunctus est.)

This refers to the fact that Peter Cantor was elected dean of the cathedral chapter of Reims in 1196, but on his way there he stopped at the Cistercian abbey of Longpont.  While there he became ill and died in January 1197. The precise details are unclear, but this explicit seems to suggest that shortly before his death he joined the Cistercian community at Longpont but died before he could take his vows.

Perhaps this news had been recently received by the scribe of the manuscript. In any case, it shows that details about the author, as well as copies of his texts, could spread quickly across the Channel to England.

          Emilia Henderson
          @minuscule_eth

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The British Library's new family-friendly exhibition, Marvellous and Mischievous: Literature's Young Rebels, features some of the most lovable young hell-raisers in fiction. They include Matilda, Max (from Where the Wild Things Are) and a host of animal characters, from Zog the Dragon to the beast in Billy and the Beast.

Literary rebels and mischief makers have been around for a very long time and one of the best known is an animal — Renard the Fox. He is a cunning prankster who delights in creating mayhem for its own sake, but who sometimes falls victim to his own tricks.

Renard persuades the crow to sing and drop the cheese he is holding, in Le Roman de Renart: Add MS 15229, f. 33r

The Renard stories are part of a long tradition of animal fables across Indo-European cultures and languages, from Afghanistan to Zaragoza. Other famous examples include the Sanskrit Panchatantra (around AD 300) and the classical Aesop’s Fables. The Roman de Renart, a French cycle of poems, became so popular that the original word for fox, ‘goupil’, was replaced by ‘renart’ in Middle French (it derives from the German ‘Raginhard’, meaning brave). An expression of the comical and satirical spirit of the time, the Roman de Renart parodies aspects of courtly literature, aristocratic refinement and religious hypocrisy. One of the British Library's illuminated copies, containing 14 of the tales and 13 colour miniatures, has recently been digitised and is now available online.

Chanticleer the cockerel, in Le Roman de Renart: Add MS 15229, f. 13r

In one of the most popular medieval tales, Renard manages to sneak into a chicken enclosure. The hens see him and scatter, but Chanticleer the cockerel, whose bravado exceeds his common sense, ignores the threat. Renard immediately sets about flattering him, calling him ‘Master Chanticleer’ and ‘cousin’, and persuading him to demonstrate his beautiful voice. Stretching his neck, both eyes closed, Chanticleer crows with all his might, a perfect opportunity for Renard to seize him by the throat and run off. However, the wily fox is caught out when Chanticleer encourages him to shout insults at the farmer giving chase. He opens his mouth and the cockerel escapes. Renard later plays a similar trick on the crow. The story of Chanticleer was later adapted by Chaucer in the Canterbury Tales as the ‘Nun’s Priest’s Tale’.

Scenes of foxes and cockerels are sometimes found in the margins of religious and scholarly manuscripts, like this volume of scholastic texts produced in a Paris workshop.

A fox with a cockerel in his mouth, in the upper margin: Burney MS 275, f. 336r

In the lower margin of a Psalter, a cockerel sings from a book on a music stand, watched closely by a fox. This mirrors the religious scene above it, showing three monks singing at a lectern.

‘Let us sing to the Lord a new song’, Psalm 95 in the 'Oscott Psalter': Add MS 50000, f. 146v

In another famous episode, Renard the Fox is present at the court of King Noble, the Lion, and is accused of serious crimes against his fellow animals. He is sentenced to be hanged. But Noble falls seriously ill and Renard sets out to try to redeem himself by finding a cure. He steals a bag of herbal remedies from a sleeping pedlar and, having performed an examination on the king, promises to heal him provided he is given the skin of a wolf, the antlers of a stag and the fur of a cat. The outcome is that Noble is cured, Renart is restored to favour, Isengrin the wolf is skinned, Brichemer the stag is de-horned and Tibert the cat is lucky to escape. This story is illustrated in the margins of a book of canon law known as the Smithfield Decretals, a medieval masterpiece decorated with over 600 illustrations on subjects varying from saints’ Lives to romances.

(1) A fox with a staff and pouch feels the pulse of a lion; (2) a wolf is skinned by two foxes; (3) above, a fox with a pilgrim bag and staff; below, a smiling fox sets off, leaving slaughtered creatures behind him (right); the fox bows to a lion, offering him a dead goose and money bag (centre), in the ‘Smithfield Decretals’: Royal MS 10 E IV, ff. 54r, 56v, 55r

Likewise, in Spiegel der Weisheit, a collection assembled in German for Albrecht IV, Duke of Austria (1395–1404), there is a story of a fox going on a pilgrimage, illustrated in this manuscript from Salzburg.

A fox, setting off on a pilgrimage, refusing the companionship of the watch-dog, lion, peacock and others, and instead choosing the panther, ape, lamb, hare, hedgehog, ox, young hound, and the ant, Spiegel der Weisheit: Egerton MS 1121, f. 36r

Our free Marvellous and Mischievous exhibition abounds with tales of young literary rebels, following in the tradition of Renard the Fox. It is on at the British Library until 1 March 2020, and is well worth a visit this holiday season.

 

Chantry Westwell

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We recently blogged about the Greek manuscripts that tell the tale of the Trojan War, an ancient conflict between the Greeks and the Trojans which ended in the destruction of the great city of Troy. We learned how this relatively unexceptional conflict was elevated to the stuff of legend through Homer’s masterful Greek epics, the Iliad and the Odyssey (if you haven’t already, catch up with Part 1 of this blog post). Today we are following the tale of Troy through Roman and medieval culture, where we will discover that despite losing the war against the Greeks, the Trojans won the more enduring victory as fundamental heroes of western literature.

These blog posts are written to coincide with the British Museum’s current exhibition, Troy: myth and reality (21 November – 8 March 2020‎), which features seven ancient and medieval manuscripts from the British Library. Check out the exhibition to learn more and to see these manuscripts in person.

A historiated initial showing Aeneas fleeing Troy, carrying his father on his back and leading his young son: Virgil, Aeneid, Rome, 1483-1485, Kings Ms 24, f. 73v

In the first century BC, the tale of Troy was reimagined in one of the greatest works of Latin literature—the Aeneid by the Roman poet Virgil. This epic poem forms a sequel to the Iliad that transforms the Trojan legend into an origin myth for the Roman Empire. It tells the story of Aeneas, one of the few Trojan heroes to survive the fall of Troy, who managed to escape the burning city carrying his aged father Anchises on his back and leading his young son Ascanius by the hand (depicted above). Aeneas led a large following of Trojan refugees as they wandered around the Mediterranean, beset by constant hardships, searching for a new home. Eventually the Trojans reached Italy, where they were prophesied to flourish. There they fought a brutal war with the native tribe the Rutuli, culminating in Aeneas killing the Rutulan leader, Turnus.

The Aeneid was tremendously admired in the Roman period and the Middle Ages. It was read in schools as the epitome of great poetry, and widely imitated in Latin literature of all kinds. It also had an important legacy in shaping perceptions of European political heritage. Throughout the poem it is foretold that the Trojan kingdom in Italy will one day form the mighty Roman Empire, and the gods prophesy the birth of Julius Caesar from Aeneas' line. In this way, the Aeneid provided an influential model for adapting the Trojan legend to serve contemporary political ends.

Aeneas killing Turnus: Virgil, Aeneid, Rome, 1483-1485, Kings Ms 24, f. 227v

Just as Virgil created a sequel to the Iliad that claimed the Trojans as founders of the Roman Empire, so Geoffrey of Monmouth created a sequel to the Aeneid that re-cast the Trojans as founders of Britain. In his enormously popular work, History of the Kings of Britain (c.1136-38), Geoffrey set out to fill the gap in people’s knowledge about Britain's pre-Christian past. The tale he recounted is more mythical than it is historically accurate.

Geoffrey explains that after the Trojans settled in Italy, Aeneas' great-grandson Brutus was exiled for accidentally killing his father. Like Aeneas before him, Brutus led a following of displaced Trojans in search of a new land in which to settle. Following the advice of the goddess Diana, they discovered an island named Albion which was inhabited only by giants. They settled, killed the giants, and re-named the island Britain after Brutus. They also built a city called 'New Troy', which was later renamed London. One of the earliest known representations of the city of London appears beneath Geoffrey’s description of ‘New Troy’ in this 14th-century copy of the History of the Kings of Britain.

Geoffrey of Monmouth, History Of The Kings Of Britain: Royal Ms 13 A III, f. 14r

New works on the legend of Troy were composed throughout the Middle Ages, not only in Latin but also in vernacular languages. These texts brought the tale to wider audiences and shaped it for new purposes. John Lydgate composed the extensive Middle English poem Troy Book in 1412-1420 at the request of Prince Henry, later King Henry V. In his prologue, Lydgate praises Henry’s excellent qualities, which he links to his supposed descent from the Trojans through Brutus, calling Henry the worthy prince, ‘To whom schal longe by successioun / for to governe Brutys Albyoun’. This luxurious manuscript of the Troy Book was probably made as a presentation gift to Henry V’s son, Henry VI.

John Lydgate, Troy Book, the opening to Book 3 with a miniature of Hector slaying Patroculus: Royal Ms 18 D II, f. 66v

The legend of Troy also appeared in French versions such as the monumental Histoire ancienne jusqu'à César. This universal chronicle, first composed c. 1208-13, blends biblical, ancient and legendary history from the Creation of the world to Caesar’s conquest of Gaul. In the 1330s, a second version of the text was compiled that cut out the sections on Genesis and Alexander the Great and greatly expanded the account of the Troy legend. This firm shift in focus towards the Trojan War as the defining event of ancient history may have been intended to create a clearer link between the Trojans and the Angevin rulers of Naples for whom the second redaction of the Histoire ancienne was created.

Manuscripts of the Histoire ancienne were often beautifully illuminated. This copy of the second redaction features a two-page miniature of the Greeks attacking Troy from the sea, looking strikingly like a scene of medieval warfare.

Histoire ancienne jusqu'à César (second redaction), the Greeks attacking Troy from the sea: Stowe Ms 54, ff. 82v-83r

From ancient Greece, to ancient Rome, to medieval culture, the epic of Troy has been told countless times. Discover more about this dramatic myth and view these manuscripts in the British Museum’s  exhibition Troy: myth and reality (21 November – 8 March 2020‎).

Eleanor Jackson

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For over 3000 years, people have told legends of a long and bloody war between the Greeks and the Trojans, sparked by the abduction of the beautiful Queen Helen of Sparta by Paris, the Trojan prince. In response, a mighty force of Greek heroes laid siege to the city of Troy for ten years. The siege only ended when the Greeks built a giant wooden horse and left it outside the city gates as an offering. The Trojans, not realising that it was a trick, brought the horse into the city. A band of Greek soldiers were hiding inside the horse, and when night fell they crept out. They opened the gates to the rest of the Greek army, who massacred the population and destroyed the city.

The British Library has loaned seven ancient and medieval manuscripts to the British Museum’s current exhibition, Troy: myth and reality (21 November – 8 March 2020‎). We’re going to be exploring how these manuscripts reveal the evolution of the tale of Troy over the centuries, starting with the Greek tradition today and following with a second blog post about the Latin tradition.

The Trojan Horse: Italy, 1480s, Kings MS 24, f. 73v

However cruel and bloody it may sound today, the siege of Troy was only a rather average-sized case amongst the many brutal battles of classical antiquity. There were several more devastating carnages recorded, for example during the long wars between Rome and the North African Carthage, or between Rome and King Pyrrhus’ forces from the Greek city of Epirus.

What then distinguishes Troy and the Trojan war from other even more horrific and disastrous wars of antiquity? The question was answered by none other than Alexander the Great, another conqueror of the 4th century BC. Upon reaching the tomb of Achilles, one of the greatest heroes of the Trojan War, Alexander cried out how lucky Achilles was to have his deeds and memory preserved by the great poet Homer.

Engraving of a bust of Homer found at Baiae in 1780: Burney MS 86, f. v verso

The key to the long-standing fame of siege of Troy is the fact that it became the subject of two of the most important and masterful Greek epic poems of Classical Antiquity: the Iliad and the Odyssey. The two poems, presumably pieced together from earlier oral traditions in the 8th century BC and attributed to the blind, prophet-like poet Homer, are iconic pieces of ancient Greek literature.

Read and admired by generations of scholars, poets and artists, the two epic poems were part of the Greek school curriculum all over the Mediterranean. Children and young adults, together with their teachers and instructors, spent hours reading, understanding and memorising Homer’s verses. No wonder that the poems come down to us in hundreds of various formats – from cheap copies for schools to deluxe papyri designed for scholarly use or showing off.

Eight lines from Homer’s Iliad written on a wooden tablet by a teacher: Egypt, 3rd century AD, Add MS 33293

A splendid example of the showy format of deluxe papyri is Papyrus 732. This 1st-century AD copy from Book 13 of the Iliad is written with elegant Greek uncials for wealthy patron, probably a scholar who had even put one annotation to the column on the left.

Book 13 of the Iliad: 1st century AD, Papyrus 732 (3)

Papyrus 271 is even more lavishly written, containing portions of the Odyssey from the 1st century AD. It shows the end of Book 3 of the poem with a nice endpiece (colophon) on the right. The annotations in the margins are even more interesting. These little notes explaining the grammar or the content of the ancient text are extracts from ancient commentators of the Homeric epics. They preserve fragments from scholarly works that do not survive anymore and represent centuries of scholarship on Homer.

Book 3 of the Odyssey: 1st century AD, Papyrus 271 (2)

These scattered notes were later assembled into one almost continuous commentary on Homer’s texts that often accompanied both the Iliad and the Odyssey in later manuscripts. An excellent example of this textual tradition, usually called the school-commentaries (scholia) on Homer, is the Townley Homer.

This manuscript, known after its previous owner, Charles Townley (1737-1805), was probably written in 1059 and contains the text of the Iliad with an extensive array of marginal scholia. An elaborate system of red signs connect the main text of the poem to the lengthier notes on the margins. Between the widely spaced lines of Homer’s text there are several interlinear notes (glosses) explaining difficult words or archaic grammatical features of the text for the reader. All this was designed for a fuller and deeper understanding of the poems. This remarkable manuscript preserves centuries of Homeric scholarship in the form of a handy manual that ensured the transmission of not only Homer and the memory of Troy but also a whole range of other texts, grammars, scientific works, fables, literary and metrical works for the following centuries.

School-commentaries (scholia) on Homer, the 'Townley Homer': Eastern Mediterranean, probably 1059, Burney Ms 86, f. 240v

Homer’s Greek epics also inspired Latin writers who reimagined the story of Troy for new audiences and new purposes. Read part two of this blogpost to learn how the Trojans founded Europe, and check out the British Museum’s exhibition, Troy: myth and reality (21 November – 8 March 2020‎) where you can see most of these manuscripts on display.

Peter Toth

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