Medieval manuscripts blog

Bringing our medieval manuscripts to life

Introduction

What do Magna Carta, Beowulf and the world's oldest Bibles have in common? They are all cared for by the British Library's Medieval and Earlier Manuscripts Section. This blog publicises our digitisation projects and other activities. Follow us on Twitter: @blmedieval. Read more

26 June 2019

History Today Trustees' Award 2019

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We are thrilled to announce that Claire Breay, Head of Ancient, Medieval and Early Modern Manuscripts at the British Library, has received this year's Longman-History Today Trustees' Award. This honour is in recognition of Claire's efforts to promote history in the public sphere, culminating most recently in the Library's once-in-a-generation (or should that be once-in-a-millennium?!) Anglo-Saxons Kingdoms exhibition. Claire received her award from Paul Lay, editor of History Today, pictured with her below, and in characteristic style she paid tribute to her colleagues across the British Library, together with Professor Simon Keynes and Professor Joanna Story, who advised on the exhibition, as well as her husband (for remembering to feed her family while she was otherwise occupied).

Claire Breay receives the Longman-History Today Trustees' Award from Paul Lay, editor of History Today.

Speaking on behalf of the judges, Paul Lay remarked that Claire deserved the Trustees' Award for a string of major achievements, which include curating the Library's exhibition Magna Carta: Law, Liberty, Legacy in 2015, and for co-editing (with Jo Story) the catalogue which accompanied Anglo-Saxon Kingdoms. Many of our readers will be aware that this most recent exhibition brought together for the first time a significant number of the most precious early English treasures, including the four Old English poetic codices, items from Sutton Hoo and the Staffordshire Hoard, Domesday Book and (one of our particular favourites) Spong Man. Also on display was the mightily impressive (and phenomenally heavy) Codex Amiatinus, which had been returned temporarily to these shores for the first time in 1,300 years. Securing agreement to borrow these manuscripts and artefacts was no mean feat. As Claire pointed out in her acceptance speech, this enabled us to tell the story of a critical period of early medieval history alongside many of the Library's own Anglo-Saxon manuscripts, a remarkable number of which belong to the Cotton collection.

Claire Breay handling the Lindisfarne Gospels prior to its installation in the Anglo-Saxon Kingdoms exhibition.

Claire Breay with the Lindisfarne Gospels (Cotton MS Nero D IV), prior to it being installed in the exhibition

We are delighted that Claire has been honoured in this way, and hope that you join us in congratulating her.

 

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25 June 2019

Toads and ermine (and other coats of arms)

Heraldry, or the study and design of armorial bearings, sometimes has a dusty reputation. This is quite undeserved: heraldic manuscripts can give us a fascinating insight into the way in which history and legend were interwoven in the medieval mind. In the mid-15th century, Richard Strangways of the Inner Temple wrote a treatise on the rules of heraldry that he exemplified with ‘imaginary arms’: coats of arms that were attributed to the protagonists of medieval legends and heroes of romances, and, retroactively, kings who had lived before the beginning of the age of heraldry in the 12th century. His treatise survives uniquely  in Harley MS 2259.

A page from the only surviving copy of Richard Strangways' heraldic treatise.

Richard Strangways’s heraldic treatise (1455): Harley MS 2259, f. 11r

Strangways included in his treatise the attributed arms of Brutus of Troy, a legendary figure who — according to the anonymous 9th-century Historia Brittonum and Geoffrey of Monmouth’s Historia Regum Brittaniae — was a descendant of the Trojan hero Aeneas, and the founder and first king of Britain. He also painted the attributed arms of William the Conqueror. Like the near-contemporary Men of Arms in Harley MS 4205, Strangways claimed that the Duke of Normandy bore a shield with silver and blue bars when he conquered England in 1066.

A detail of the arms of Brutus. A detail of the arms of William the Conqueror.
The arms of Brutus [left] and William the Conqueror [right]: Harley MS 2259, ff. 179v, 95v

Describing the arms of the kings of France, Strangways followed a popular medieval legend: the pre-Christian kings of the Franks would have borne a pagan shield with three black toads (resembling the attributed arms of Satan), which the Franks continued to use until ‘Kyng Lowes’ [Louis the Pious?] prayed for a new charge and an angel gave him fleurs-de-lis to replace the toads.

A detail of the pagan arms of the Frankish kings.

The pagan arms of the Frankish kings: Harley MS 2259, f. 163v

Arthurian literature was evidently another important source for Strangways. He formally described — or to put it in heraldic terms ‘blazons’ — the arms of the legendary King Arthur as a ‘gules three crowns in pale’. This means: a red shield with three golden crowns ordered vertically.

A detail from Richard Strangways' heraldic treatise, showing a blazon of King Arthur's arms.

A blazon of King Arthur’s arms: Harley MS 2259, f. 183r

A detail of the arms of King Arthur from a 15th-century manuscript.

The arms of King Arthur (England, 4th quarter of the 15th century): Harley MS 2169, f. 5v

Strangways also showed the arms of Sir Geraint, who Welsh romances held to be one of Arthur’s most valiant knights, and those of Sir Gawain, one of the most renowned Knights of the Round Table. As the 14th-century Middle English romance of Sir Gawain and the Green Knight in Cotton MS Nero A X has it, Gawain bore a red shield with a five-pointed golden star. But Strangways gave him a green shield with a golden bar that is covered with an ‘ermine’ — a heraldic pattern based on the winter coat of the stoat. He stated that adding this ‘fur’ was necessary because Gawain was born in bastardy, a claim corroborated by medieval works such as De Ortu Waluuanii Nepotis Arturi (The Rise of Sir Gawain, Nephew of Arthur). To put it in Strangways’s own words, ‘the rule in heraldry is that if he is born of a noble lady in bastardy and bears her arms he shall bear them with such a fur’ (‘the law of armys ys yf he come of a gret lady in bastardy and ber her armys he shall ber hem with such a furcot’).

A detail of the arms of Geraint. A detail of the arms of Gawain.
The arms of Geraint [left] and of Gawain [right]: Harley MS 2259, ff. 134r, 73r

Harley MS 2259 also features the arms of Sir John Mandeville, the supposed author of a fictional travel memoir describing the wonders of the Holy Land, Africa and Asia. Mandeville’s Travels survives in hundreds of medieval manuscripts, but none of the illustrated versions (such as Harley MS 3954 and Add MS 24189) show Mandeville bearing arms. His shield was once displayed in the church of Guillemins near Liège (in modern-day Belgium), where Mandeville was supposedly buried, but the church was destroyed during the French Revolution. Strangways’s treatise includes one of only two extant illustrations of Mandeville's arms, and the only medieval one.

A detail of the arms of John Mandeville.

The arms of John Mandeville [‘maximus peregrinus’]: Harley MS 2259, f. 90r

Strangways made special mention of the attributed arms of Prester John. According to popular legend, he was the founder and ruler of a Christian kingdom in the Far East. A letter purportedly written by him to the Byzantine Emperor, Manuel Komnenos, describes a kingdom with mythical animals, monstrous races and marvels such as a fountain of youth. The letter survives in hundreds of medieval manuscripts, the oldest dating back to the 12th century (for example, Harley MS 3099). Prester John’s arms are exceptional because they display the Crucifixion of Christ, imagery that was reserved for only a few eminent bishops and religious institutions.

Strangways emphasized his heraldic charge’s rarity by explaining the distinction between a crucifix and a cross, which was commonly used on coats of arms: ‘It is called a crucifix because God is nailed upon it, because if it is so that God isn’t nailed upon it in person, then it should just be called a cross’ (‘hyt ys callyd a crucyfix be cause god ys naylyd and crucyfyd up on yt. For yf  yt were so þat god were nat naylyd on yt in figure than yt shuld be callyd but a crosse’).

A detail from Richard Strangways' heraldic treatise, showing a blazon of the arms of Prester John.

A blazon of the arms of Prester John: Harley MS 2259, f. 147r

A detail of the arms of Prester John from a 15th-century manuscript.

The arms of Prester John (northern France, 15th century): Egerton MS 3030, f. 9v

Strangways’s treatise is just one of several late medieval English heraldic works to feature attributed arms. These ‘imaginary arms’ reflect the importance placed on symbolism by the late medieval gentry and aristocracy, and a desire to associate themselves with important figures in medieval history and legend.

We are currently creating new online records for manuscripts in the Harley collection (one of the foundation collections of the British Library). You can read more about this project, which includes Harley MS 2259 (containing Strangways's treatise), in our blogpost Cataloguing the Harley 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 and monastic libraries.

Clarck Drieshen

Follow us on Twitter @BLMedieval

22 June 2019

Join us at Leeds

The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700-1200 will be hosting a session at the Leeds International Medieval Congress this year. Join us for a roundtable discussion exploring ways to increase the impact of research on medieval manuscripts within the Research Excellence Framework, using this project as a model.

A page from a 12th-century manuscript, showing an illustration of the Annunciation to the shepherds.

The Annunciation to the shepherds (northern France or southern Netherlands, 3rd quarter of the 12th century): Cotton MS Caligula A VII, f. 6v

We would love to see you on Tuesday 2 July at 19:00 for Session 924. Download our flyer here..

We will have a panel of four:

  • Dr Kathleen Doyle (Lead Curator of Illuminated Manuscripts at the British Library), supervisor of the project.
  • Tuija Ainonen (Merton College, Oxford/The Bodleian Library), who served as the project manager. Tuija is currently Medieval Manuscripts Electronic Catalogue Project Officer at Merton College, working on the migration of its catalogue of medieval manuscripts to the new Oxford digital catalogue, as well as Project Cataloguer on the #PolonskyGerman project at the Bodleian.
  • Dr Alison Ray (Canterbury Cathedral Archives and Library), the project’s web content officer. Alison looks after the medieval and modern collections at Canterbury. She wrote her PhD at UCL on the pecia system of book production.
  • Professor Joanna Story (Professor of Early Medieval History, University of Leicester), who co-supervises with Kathleen a collaborative doctoral student who worked on the project. Jo was an academic advisor of the Library’s recent Anglo-Saxon Kingdoms exhibition, as well as being co-editor of the exhibition book.

As regular readers of this Blog will know, the England and France Project was an ambitious and innovative project to digitise, promote and interpret 800 manuscripts made in England or France before 1200, generously funded by The Polonsky Foundation. We produced two websites: one with complete digital coverage of all 800 manuscripts hosted by the Bibliothèque nationale de France; the second, hosted by the British Library, seeks to interpret this research for students and the general public, with 30 articles, 11 videos and over 150 general descriptions of specific manuscripts.

A page from a medieval bestiary, showing an illustration of a selection of fish and sea creatures.

A selection of fish and sea creatures in a medieval bestiary (England, early 13th century): Harley MS 4751, f. 68r

At the roundtable we will discuss how to demonstrate quantitative and qualitative impact in funded projects, and how to maximise usage and knowledge transfer using social media, blogs and traditional news outlets. We will welcome your questions and comments, and will aim to make this session as interactive as possible. 

 

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21 June 2019

Even more digitised manuscripts

Long-term readers of this Blog may be aware that we periodically publish lists of our digitised manuscripts. Our last one was published in July 2018 and the wait for a new one is over — here are up-to-date lists of manuscript hyperlinks to make it easier for you to explore our amazing digitised treasures.

A decorated letter 'E' containing two scenes of musicians playing instruments and a dog dancing

Cause for celebration! Musicians and a dog play music and rejoice in a decorated initial at the opening of Psalm 80 (81), 13th-century Psalter, eastern England:

There are now 2,535 Ancient, Medieval and Early Modern manuscripts on our Digitised Manuscripts website and more being added all the time. For a full list of what is currently available, please see this PDF: Download Full list digitised MSS June 2019. This is also available as an Excel spreadsheet:  Download Full list digitised MSS June 2019 (this format cannot be downloaded on all web browsers).

The Library's Ancient, Medieval and Early Modern team have been busy as ever over the last year, working to make more manuscripts available online. All the images included in this blogpost are from manuscripts that we digitised in 2018–19. To admire our most recent additions to the Digitised Manuscripts site, take a look at this list of manuscripts published since January 2018 (not including Polonsky Project manuscripts, for which see below).

PDF: Download Digitised MSS Jan 2018 to June 2019.

Excel: Download Digitised MSS Jan 2018 to June 2019.

A picture of a man on a horse turning backwards towards a half-naked beggar. The horseman holds out his cloak and is about to cut it with his sword.

St Martin dividing his cloak to share with a beggar, southern Netherlands, c. 1200: Add MS 15219, f. 12r (digitised by The Polonsky Foundation England and France Project)

In addition to these, we have also digitised 400 of our manuscripts as part of The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700–1200. You can browse the list of all 800 British Library and Bibliothèque nationale manuscripts digitised in the project as a PDF: Download Polonskypre1200_bl_bnf_800mss_urls and Excel spreadsheet: Download Polonskypre1200_bl_bnf_800mss_urls.

A boat on the sea, with one sailor being pulled overboard by a mermaid. Meanwhile a centuar with a bow runs past.

A siren luring a mariner to a watery grave and a centaur practising archery, 13th-century bestiary, northern France: Sloane MS 278, f. 47r

To find out how to make the most of Digitised Manuscripts, check out this 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.

A cucumber plant, with fruits and flowers.

A cucumber, the Carrara Herbal, northern Italy, c. 1390-1404: Egerton MS 2020, f. 162v

We hope you enjoy exploring!

 

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 and monastic libraries.

Follow us on Twitter @BLMedieval

16 June 2019

Explore Leonardo's notebooks

Our major new exhibition, Leonardo da Vinci: A Mind in Motion, is open now at the British Library. It features highlights from three of the Reniassance thinker's extraordinary notebooks: the Codex Forster II, on loan from the Victoria & Albert Museum; the Codex Leicester, owned by Bill Gates; and the Library's Codex Arundel. The exhibition is on until 8 September, and tickets for adults cost £7 (members and children under 11 enter for free and other concessions are available).

The exhibition poster for Leonardo da Vinci: A Mind in Motion.

Leonardo da Vinci: A Mind in Motion marks the 500th anniversary of his death

Our exhibition takes the opportunity to to explore the inner workings of Leonardo's complex mind and his fascination with motion — which he considered to be ‘the cause of all life’. Visitors will be able to marvel at his detailed studies of natural phenomena, and to see studies for his painting The Virgin of the Rocks.

You can explore Leonardo's Codex Arundel for yourself on the Library's Digitised Manuscripts website. Leonardo described this notebook on the opening page as a 'a collection without order, drawn from many papers, which I have copied here, hoping to arrange them later each in its place according to the subjects of which they treat'. It contains pages datable between 1478 and 1518 (though mostly to 1508), and written variously at Florence, Milan, Rome and Amboise in France. Tthis notebook is named after an early owner, Thomas Howard (1585–1646), 2nd earl of Arundel, 4th earl of Surrey, and 1st earl of Norfolk. It was presented by Henry Howard (d. 1684), 6th duke of Norfolk, to the Royal Society in 1667, from whom it was purchased by the British Museum in 1831.

A page from the Codex Arundel, showing Leonardo da Vinci's studies of limbs revealed under ultraviolet light.

This image from Codex Arundel, taken using UV light, shows Leonardo da Vinci's studies of limbs from different viewpoints

Our Events programme contains a number of talks connected to the work of Leonardo da Vinci, including Waterways (17 June), Leonardo da Vinci’s Scientific Impact with Domenico Laurenza (2 July), and a curator talk by Juliana Barone (15 July). You can book tickets for all these on our Events pages.

 

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11 June 2019

The Ruin of Britain

Very few texts survive that were written in Britain between the 5th and 7th centuries. We have works by just two named authors from that period. One was a shepherd, who was kidnapped and sold into slavery and became the patron saint of Ireland, none other than St Patrick. The other wrote one of the most influential rants in British history.

A page from a 10th-century manuscript of Gildas' The Ruin of Britain.

A page from the earliest substantial copy of Gildas's The Ruin of Britain, made possibly in Canterbury in the 10th century: Cotton MS Vitellius A VI, f. 14v

The ranter in question was Gildas, a Romano-British deacon and monk. Sometime between the late 5th century and the 6th century, he wrote The Ruin of Britain, which describes a time of dramatic change, when the Roman legions had left Britain and the Romano-British population was under attack from invaders:

‘I shall try, God willing, to say a little about the situation of Britain; about her obstinacy, subjection, and rebellion ... the destruction of cities; about those who survived’: Gildas: The Ruin of Britain and other works, ed. and trans. by Michael Winterbottom (London: Phillimore, 1978), p. 16.

As this quotation suggests, The Ruin of Britain is a moralising polemic that condemned the British lay and ecclesiastical leaders. The text is full of examples and quotations from the Bible. Although Gildas's account is vivid, he was not an eyewitness: most of the events he described occurred before he was born.

A fragment of The Ruin of Britain survives in a late 9th- or early 10th-century continental copy (now in Bibliothèque Carnegie de Reims, MS 414). The oldest substantial copy was made in southern England in the mid-10th century (British Library Cotton MS Vitellius A VI). Sadly, this manuscript was significantly damaged by fire in 1731.

A page from a 10th-century manuscript of Gildas' The Ruin of Britain, damaged by fire in 1731.

The pages of this manuscript of The Ruin of Britain were damaged by fire in 1731, before being placed in paper mounts in the 19th century: Cotton MS Vitellius A VI, f. 7v

In The Ruin of Britain, Gildas depicted the defeats and natural disasters suffered by the Britons as divine punishment for their sins. He claimed that Romano-British leaders had invited three ship-loads of Saxons to protect them from Pictish invaders, but these Saxons had turned on their hosts and become an even worse enemy. Gildas described vividly how whole settlements were put to the sword, ‘fragments of bodies covered with coagulated clots of red blood, in confusion as if in some kind of horrible wine press’ (translated by Hugh Williams, Gildas (London, 1899)). Some Britons surrendered to the invaders, others fled into the mountains or deep into forests, others still migrated to the continent. Some resisted, such as Ambrosius Aurelianus, who reputedly defeated the invaders at Mons Badonicus in the year that Gildas was born.

While Gildas praised leaders like Ambrosius, he did not mince his words about the Romano-British kings and churchmen of his own day: ‘Britain has kings, but they are tyrants: she has judges, but they are unrighteous men’. Gildas singled out five kings in particular for condemnation: Constantine, king of Dumnonia (the area around modern Cornwall and Devon); Aurelius Caninus; grey-haired Vortipor of the Demetae (in what is now Pembrokeshire); Cuneglas, who probably ruled the area around the Dinarth Rhos peninsula; and Maelgwn of Gwynedd. Gildas accused all these men of murder and adultery. He saved his fiercest criticism for the most powerful British king, Maelgwn:

‘And you, island dragon … greater than almost all the kings of Britain, but worse in morality ... You are certainly not lacking in warnings, since you were taught by the finest teacher in almost all of Britain.’

It is unclear what happened to Gildas after he wrote The Ruin of Britain. Some have suggested that he migrated to Brittany, like many other Britons, since there was a Breton monastery dedicated to St Gildas. But there is no firm evidence for this. Gildas was remembered as a saint by the Anglo-Saxons, and his name is found in eight pre-Conquest calendars of saints' days.

Ironically, Gildas’s writings survive to this day in part because the Anglo-Saxons that he so despised continued to quote him. For example, Bede (d. 735) used The Ruin of Britain as one of his sources for the history of post-Roman Britain.

A page from a 10th-century manuscript of Gildas' The Ruin of Britain.

The most substantial surviving manuscript of The Ruin of Britain was copied in England in the 10th century: Cotton MS Vitellius A VI, f. 15r

Three centuries years later, Archbishop Wulfstan of York (d. 1023) used Gildas as cautionary tale, to try to galvanise English resistance to the Scandinavian invasions:

‘There was a historian in the time of the Britons, Gildas, who wrote about their misdeeds, how they exasperated God with their sins so much that He finally allowed the English army to conquer their land … Let us take warning from this: it is true what I say, we know of worse deeds among the English than we have heard of among the Britons.’

The Ruin of Britain had long-lasting effects, even they were not what Gildas intended. He may not have swayed the leaders of his own day, and it is clear that the Germanic invaders became dominant in southern Britannia. The Ruin of Britain nonetheless had a major impact on some later writers. It remains the principal (near) contemporary narrative account of the momentous events of the 5th and 6th centuries.

 

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 and monastic libraries.

 

Alison Hudson

Follow us on Twitter @BLMedieval

07 June 2019

Leonardo da Vinci: A Mind in Motion

On 7 June an exciting new exhibition opens at the British Library. Marking 500 years since his death, Leonardo da Vinci: A Mind in Motion showcases Leonardo’s manuscript legacy by displaying together — for the first time in the UK — highlights from one of the British Library’s finest treasures, the Codex Arundel, alongside Codex Forster II from the V&A, and a selection of sheets from the Codex Leicester, widely considered to be one of Leonardo’s most important scientific journals and now owned by Bill Gates.

A page from the notebook of Leonardo da Vinci, showing sketches of the River Arno.

Observations on the course of the River Arno: British Library, Arundel MS 263, f. 149r 

A page from the Codex Forster, showing Leonardo da Vinci's studies for a perpetual motion wheel. A page from the Codex Forster, showing Leonardo da Vinci's studies for a perpetual motion wheel.
Studies for a perpetual motion wheel: Codex Forster II, ff. 90v–91r © Victoria and Albert Museum, London

A page from the Codex Leicester, showing Leonardo da Vinci's studies on the use of obstacles.

Studies on the use of obstacles: Seattle, Bill Gates Collection, Codex Leicester, 13B (ff. 13v–24r) © bgC3

The exhibition explores Leonardo’s fascination with motion, which he considered to be ‘the cause of all life’. It reveals the major role he ascribed to motion in his quest to understand the natural world and discover the rigorous laws which govern nature. In particular, it follows his life-long study of water, which for Leonardo was the driving force of nature.

Leonardo’s remarkable notebooks, written in his distinctive mirror writing, are used in the exhibition to illustrate how his detailed studies of natural phenomena — and in particular of water — influenced his work both as an artist and an inventor. With intricate drawings and diagrams crowding every page, visitors will be able to follow Leonardo in his tireless pursuit of knowledge, track his thoughts and experiments, and marvel at his insights into subjects as varied as the formation of waves and air bubbles, river flow, bird flight, and the nature of light and shadow.

A page from the notebook of Leonardo da Vinci, showing his designs for underwater breathing apparatus.

Underwater breathing apparatus: British Library, Arundel MS 263, f. 24v

Leonardo da Vinci: A Mind in Motion is on at the British Library from 7 June to 8 September 2019. The exhibition is in partnership with Automobili Pininfarina. It is accompanied by a series of events inspired by the exhibition, including a range of adult learning courses, free family workshops and an audio-description tour for blind and partially sighted visitors. An exhibition book edited by Dr Juliana Barone, associate curator, is available from the British Library shop.

 

 

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06 June 2019

The curse of the spiritual sword

We have previously reported about our fascination with medieval book curses, added in monastic libraries to ward off thieves and warn careless users. Book curses typically state that those who stole or damaged a book would be spiritually condemned, often including the Greek-Aramaic formula ‘Anathema Maranatha'. For example, during the 12th and 13th centuries monks at Reading Abbey systematically added such curses to their manuscripts containing biblical commentaries (examples include Add MS 38687Harley MS 101 and Harley MS 1246).

A book curse in a 13th-century manuscript belonging to the Cistercian abbey of Pontigny.

Pontigny Abbey’s book curse in a commentary on Deuteronomy and Joshua (1st quarter of the 13th century): Add MS 38687, f. 150r

We would like to share some new findings that will enable you to protect your favourite books, as well as other prized possessions. One example comes from the so-called ‘Noyon Sacramentary’ (Add MS 82956). This 10th-century manuscript, produced by the monastic community at Noyon Cathedral in northern France, contains masses and prayers for blessings and ceremonies. The manuscript opens with a wrathful curse that would bring down a series of spiritual punishments upon those who stole from or committed any other crime against Noyon Cathedral.

A detail from the Noyon Sacramentary, showing the text of a book curse.

Noyon Cathedral’s ‘Curse of the Spiritual Sword’ (4th quarter of the 10th century): Add MS 82956, f. 1v

The Noyon Cathedral curse begins: ‘excommunicamus eos et gladio sancti spiritus a vertice capitis usque ad plantam pedis transverberamus’ (‘We will excommunicate them and cut through them with the sword of the Holy Spirit, from the top of the head to the sole of the feet').

It then declares that book-thieves would be condemned to burn in the eternal fire of Hell together with Judas Iscariot, perhaps because they, like Judas, committed betrayal for material gain. Finally, to top it off, these thieves were to remain in the darkness of Hell where they would keep the devil company.

Perhaps an even more powerful curse for protecting your belongings comes from a 12th-century lectionary (containing readings from the Gospels for the Mass) from the Benedictine abbey of Tholey in western Germany (Add MS 29276). The curse is preceded by an itemised list of the monastery’s relics and sacred objects: ‘We have in this monastery of St Peter and St Mauritius eight bookcases of silver, four books of silver, and ten chalices’. Protecting this treasure is a curse that the community would collectively cast upon anyone who stole from the monastery:

a sancte matris ecclesiae segregamus ac perpetuae maledictionis anathemate condempnamus . sit que maledictus in domo . in agro . veniantque super eum omnes ille maledictiones . quas dominus per moysen in populum divin[a]e legis prevaricatione se esse missurum. Sitque anathema maranatha . id est pereat in secundo adventu domini. Stix sit ei potus. Amen.

We will segregate him from the mother church and condemn him with the eternal curse of anathema: may he be cursed in the house and on the land, and let all the curses that the Lord cast through Moses onto the transgressors of the Divine Law come upon him. May he be anathema maranatha. That means: may he be damned at the Second Coming of Our Lord (the Last Judgement); may the Styx be his drink. Amen.

A detail of a book curse from a 12th-century Lectionary belonging to Tholey Abbey.

Tholey Abbey’s ‘Styx-Curse’ (c. 1100–c. 1175): Add MS 29276, f. 162v

This curse encompasses both the eternal sentence to Hell, at the Last Judgement, and the Styx, the principal river of the Underworld. While it may seem unexpected to find a medieval monk referring to the Styx, monasteries gained knowledge about the Underworld through their copies of works such as Virgil's Aeneid . For example, in a 12th-century theological miscellany from the Cistercian abbey of Thame in Oxfordshire (Burney MS 357), the Styx is listed as one of the rivers in Hell, and its name is defined as ‘sadness’ (tristicia).  

A detail of a book curse from a 12th-century miscellany belonging to the abbey of Thame.

The ‘Stix’ among the ‘Names of the Infernal Waters’ (Nomina Humorum Infernalium) (1st half of the 12th century): Burney MS 357, f. 4v

It's clear that some medieval monks were very resourceful when it came to protecting their most precious treasures. The book curses that they devised indicate not only their knowledge of religious and Classical works, but also the importance they attributed to their sacred books and objects.

To learn more about medieval monastic libraries, and how books were acquired, used and stored, read this article on Medieval monastic libraries by Alison Ray, created as part of The Polonsky Foundation England and France Project: Manuscripts from the British Library and the Bibliothèque nationale de France, 700–1200. Together with the Bibliothèque nationale de France, we have digitised 800 manuscripts from our collections, which you can learn more about on our dedicated Medieval England and France webspace.

 

Clarck Drieshen

Follow us on Twitter @BLMedieval #PolonskyPre1200

 

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