A reminder for PhD students with research interests relating to the ancient, medieval and early modern worlds: the British Library’s Doctoral Open Day for our pre-1600 collections will take place on 5 February 2018. The day is aimed at first-year doctoral students who would like to learn more about finding and using our collection material for their research. The approach is interdisciplinary and useful for students working on topics in classics, history, literature, history of art, religion, and the history of science and medicine. You can book your place on the Events page. A ticket to attend costs £10, including lunch and refreshments. The number of places is limited, so booking in advance is necessary. 

Beginning of the genealogy of King William I (1066–1087), in the centre, from a genealogical roll of the kings of England from the Anglo-Saxon Heptarchy to Edward I (1272–1307), England, c. 1300–1340: Royal MS 14 B VI, membrane 5r

On the Open Day you will be introduced to the wide range of manuscript and early printed collections at the British Library and the practicalities of finding and using them in your research. The sessions will help explain how to use and access the catalogues, databases and other relevant online resources relating to each collection area. There is also a session specifically on digital research. In the afternoon, there will be an opportunity to get a closer introduction to some of our collection items.

The incipit page of the Gospel of St John, Gospel book, Northern France, c. 875–900: Harley MS 2797, f. 132r

 

Programme:

09.45–10.15  Registration & refreshments

10.15–10.30  Welcome, speed networking & EThOS (Allan Sudlow, Head of Research Development)

10.30–10.45  British Library Collections: Introduction & Overview (Scot McKendrick, Head of Western Heritage Collections)

10.45–11.00  Comfort break

11.00–11.40  Medieval Manuscripts (Claire Breay, Head of Ancient, Medieval and Early Modern Manuscripts)

11.40–12.10  Early Printed Collections (Karen Limper-Herz, Lead Curator Incunabula & 16th Century Books)

12.10–12.30  Early Maps (Magdalena Pezko, Curator, Map Collections)

12.30–13.30  Lunch

13.30–14.15  Reading Room Session/Meet the Curators (Nicola Beech & Claire Wotherspoon, Maps & Manuscripts Reference Team)

14.15–15.00  Reading Room Session/Meet the Curators (Nicola Beech & Claire Wotherspoon, Maps & Manuscripts Reference Team)

15.00–15.30  Refreshments

15.30–16.00  Digital Research Session (Mia Ridge, Digital Curator)

16.00–16.20  The Art of History and the History of Art (Alixe Bovey, Head of Research, Courtauld Institute of Art)

16.20–16.30  Questions, Feedback forms and Close

Miniature of Joanna of Castile (b. 1479, d. 1555) kneeling, flanked by St John the Baptist and her guardian angel with the arms of Joanna and those of her husband, Philip the Fair (b. 1478, d. 1506), Book of Hours of Joanna of Castile, Netherlands, 1486-1506: Add MS 18852, f. 26r

The Pre-1600 Collections Day on 5 February is part of the British Library’s 2017/18 series of Doctoral Open Days, which covers all the different collection areas. Read more about the entire series online. . To find out about how previous Doctoral Open Days have helped early-stage PhD students and what the most commonly mentioned benefits are, take a look at 5 reasons to attend a British Library Doctoral Open Day.

If you do not already have one, we also recommend that you register for a free Reader Pass in advance so that you can make the most of the Open Day. We look forward to welcoming many new postgraduate students to the Library on 5 February.

 

Emilia Henderson

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Early Career Post-Doctoral Curator of Illuminated Manuscripts

Thanks to external funding, we are pleased to announce a new 3 year fixed-term position in the Ancient, Medieval and Early Modern section at the British Library, for a Curator of Illuminated Manuscripts. The successful candidate will have recently completed a doctoral degree in medieval art history, history, literature or another closely-related discipline, or its equivalent, and have the specialist knowledge and strong research experience appropriate for an early career researcher. The new curator will assist the Lead Curator, Illuminated Manuscripts, in all aspects of curatorial work. The principal duties will include cataloguing, describing and publicising medieval and illuminated manuscripts.

The opening of a 15th-century copy of Partenopeius by Johannes Jovianus Pontanus, Burney MS 343, f. 1r

A key aspect of the job will be presenting manuscripts in writing and orally to a variety of audiences, including blog posts, exhibition labels and presentations to students and visitors. Therefore, the ability to describe and present a broad range of material clearly and accurately is essential. The interview may include questions about the date and origin of a manuscript to be shown to be shown on the day..

The post holder will assist in the digitisation programme, including the selection of manuscripts to be digitised and the checking and describing of images, so information technology skills, including web-based skills, are also required.  

A strong knowledge of medieval Latin is also essential, as well as palaeographical and codicological skills. Because the post-holder will be working both independently and as part of a team, the successful candidate will possess a high level of time-management skills and the ability to liaise effectively with colleagues in Western Heritage Collections and other departments at the Library.

Full details of the position and how to apply are available online. The reference is 01795.

The closing date is 18 February. Interviews will be held on 8 March.

 

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One of the great thrills of curating our blockbuster exhibition, Harry Potter: A History of Magic, has been choosing the exhibits and revisiting some of our favourite manuscripts. When we were planning the show, I often used to impress people by mentioning certain of the books and objects we were intending to display: medieval manuscripts, Chinese oracle bones and, oh yes, something written by somebody called Leonardo da Vinci, "you may have heard of him?" At this point heads always turned, and I knew we'd captured everyone's attention.

So what exactly was I talking about, when I mentioned that Leonardo's writings would be featured in the exhibition? You may be aware that Leonardo da Vinci (1452–1519), the great inventor, scientist and artist, made copious notes throughout his career. These were gathered into a series of notebooks, one of which is today preserved at the British Library in London, where it is known as the ‘Codex Arundel’ (after a former owner, the Earl of Arundel): its shelfmark is Arundel MS 263 and it can be viewed in its entirety on our Digitised Manuscripts site. The notes are written in Italian, and if you examine the writing closely, you immediately recognise that they are in Leonardo's characteristic mirror handwriting, reading from right to left.

Leonardo da Vinci's notebook (Italy, c. 1506-08): Arundel MS 263, f. 104r

One page from Leonardo's notebook seemed particularly appropriate to show in the Astronomy room of Harry Potter: A History of Magic, alongside objects such as an Arabic astrolabe and the oldest surviving manuscript which charts the night sky (made in China around the year AD 700). The diagram shown here describes the reflection of light, according to the alignments of the Sun, Moon and Earth. Leonardo da Vinci’s illustration shows the Sun and Moon revolving round the Earth, accepting the theory popularised by the Greek astronomer, Ptolemy (d. c. AD 170), that the Earth occupied the centre of the universe. Leonardo was writing, of course, approximately 100 years before the invention of the telescope.

A detail of Leonardo da Vinci's notebook, showing the reflection of light: Arundel MS 263, f. 104r

On the right-hand side of this page are two diagrams showing the Earth and Moon. The second of these supports Leonardo's belief that the Moon was covered with water, and that its surface would operate like a convex mirror, reflecting light. We may no longer believe this to be true (everyone knows that the Moon is made of cream cheese) but it's always fascinating to get a first-hand insight into the mind of a genius such as Leonardo da Vinci. Placing his notebook on display in our Harry Potter exhibition has enabled more of our visitors to come face-to-face with this intriguing document. Maybe we will have inspired some of the astronomers and scientists of the future, who have been coming to see the exhibition in their thousands.

The Earth and Moon in Leonardo da Vinci's notebook: Arundel MS 263, f. 104r

Harry Potter: A History of Magic is on show at the British Library in London until 28 February 2018. There has been a huge demand for tickets, so we strongly urge you to book in advance of your visit.

 

Julian Harrison (Lead Curator, Harry Potter: A History of Magic)

 

 

Fans of the British Library and of the Tudors alike will be delighted to know that the documentary, England's Forgotten Queen: The Life and Death of Lady Jane Grey, is now available to watch on the BBC's iPlayer (UK viewers only). There are three episodes in total, presented by Helen Castor and filmed in part at the Library. Together, they reveal the fascinating story behind the young woman elevated to the throne of England in 1553, and then brutally executed months later.

Episode 1

Episode 2

Episode 3

In this clip, Andrea Clarke of the British Library shows Helen Castor Lady Jane Grey's very own prayerbook, which is held today at the British Library. The whole manuscript is able to view on our Digitised Manuscripts site: Harley MS 2342.

 

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The British Library was recently abuzz with the news that Codex Amiatinus — the oldest surviving copy of the complete text of the Latin Vulgate Bible — will be returning temporarily to Britain in 2018 for our Anglo-Saxon Kingdoms exhibition. Another important early medieval pandect Bible (containing the entire Bible in one volume) has now been digitised as part of the ongoing England and France 700–1200 joint project with the Bibliothèque nationale de France. This manuscript (Add MS 24142) is a fascinating example of the painstaking efforts to improve the biblical text by Carolingian scholars. It is one of the oldest of the six surviving Theodulf Bibles, so-called after the reviser of the text, Theodulf (b. 750–760, d. 821), the bishop of Orléans and Fleury. Two of the remaining five copies are now in the Bibliothèque nationale de France in Paris (cod. lat. 9380 and cod. lat. 11937). The remaining three reside in the collections of Württembergische Landesbibliothek in Stuttgart (MS HB. II 16), Le Puy Cathedral, France (Trésor de la Cathédrale, unnumbered), and Det Kongelige Bibliotek in Copenhagen (MS NKS 1).

A marginal correction at the end of Ezekiel, c. 800–825: Add MS 24142, detail of f. 108r

In the 8th century there was an abundance of different versions of the text of the Bible — of varying quality — in use across Europe. During the same period, the realm of the Carolingian dynasty (who took over as kings of the Franks from the Merovingians in 751) gradually expanded. Under Charlemagne (r. 768–814) it reached its greatest size, as an empire covering most of western Continental Europe. Reform and unification of the Church was an important issue for the Carolingian rulers and other elite members of society, and concerns about this variation in Bible provision and its effect on the liturgy grew. Establishing throughout the entire realm a revised text of the Bible, the most essential Christian text, was central to these reform efforts. This is made explicit in the General Admonition of 789, a collection of legislation issued by Charlemagne:

‘Correct carefully the Psalms, the signs in writing …, the songs, the calendar, the grammar …, and the catholic books; because often some desire to pray to God properly, but they pray badly because of faulty books’ (translated by Paul Edward Dutton, Carolingian Civilization: A Reader, 2nd edn., Toronto, 2009).

Theodulf was one of the key figures in Charlemagne’s circle of intellectuals and Church reformers. It was also Theodulf who produced one of the most ambitious efforts to answer Charlemagne’s call to ‘correct carefully’ the Vulgate text. He compared the various versions, using the best exemplars he could acquire. Not content with the first drafts of his work, Theodulf continued to revise the resulting text as new exemplars became available. The six surviving copies of his biblical text all reveal different stages of this continuous revision process with corrections, and sometimes alternate readings, recorded in the margins. In other words, Theodulf’s method was similar to how critical editions of texts are prepared today.

The beginning of the Gospel of St John, c. 800–825: Add MS 24142, f. 222r

The resulting manuscript copies were clearly meant for close scholarly reading and reference, rather than for use in the liturgy. This is immediately clear from the rather modest dimensions and plain presentation of Add MS 24142. The Theodulf Bibles were written in a tiny version of Caroline minuscule script (the clear and legible script promoted throughout the Empire by Charlemagne) that was usually only used for marginal glosses.

Check out the digitised Add MS 24142 online to see how the specific function of this rare copy of the biblical text affected its form. Instead of decorated initials or illustrations, the transition between books is made clear to the reader by headings in a slender uncial script (a script originating in the classical world and consisting entirely of capital letters). Only occasionally is a simple rectangular border decoration added to further mark the division. The beginning of St John’s Gospel in the second column, above, is one example of this pragmatic arrangement. The British Library’s copy also stands out since it is arranged in an unusual three-column layout — maximising the amount of text on each manuscript page even further — whereas the four later Theodulf Bibles have the more standard two columns. These features combine to make Add MS 24142 a practical and relatively lightweight pandect Bible in comparison to most surviving medieval pandects, and it can be comfortably handled by one person.

 

Emilia Henderson

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Lady Jane Grey is one of England's least fortunate monarchs. Aged just 15, she was catapulted to the throne in July 1553, in succession to her cousin, King Edward VI, in order to prevent the accession of Mary Tudor. Nine days later, she was deposed in favour of Mary, and taken into custody at the Tower of London. Within four months, she had been convicted of high treason; and on 12 February 1554, the erstwhile and never-crowned Queen Jane was beheaded on Tower Green.

On BBC Four this week will be broadcast a three-part documentary, England's Forgotten Queen: The Life and Death of Lady Jane Grey. Presented by Dr Helen Castor, the documentary was filmed in part at the British Library and features interviews with Dr Andrea Clarke (Lead Curator, Medieval and Early Modern Manuscripts). Among the manuscripts shown by Andrea to Helen Castor are the diary of Edward VI and Lady Jane Grey's very own prayerbook.

The prayerbook of Lady Jane Grey (Harley MS 2342, ff. 74v–75r).

On this page of the manuscript, an inscription written by Lady Jane Grey to Sir John Bridges, Lieutenant of the Tower, reads, 'Forasmutche as you have desired so simple a woman to wrighte in so worthye a booke (good) mayster lieutenaunte therefore I shall as a frende desyre you and as a christian require you to call uppon god to encline youre harte to his lawes to quicken you in his waye and not to take the worde of trewthe utterlye oute of youre mouthe ...' 

England's Forgotten Queen: The Life and Death of Lady Jane Grey will be shown on BBC Four at 9pm on Tuesday 9 January, Wednesday 10 January and Thursday 11 January.

Andrea Clarke with Helen Castor at the British Library

 

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For over one thousand years Constantinople (now Istanbul) was a byword for awe-inspiring splendour. Named after the Emperor Constantine the Great (r. 306–337), who transferred the capital of the Roman Empire there in 324, the city also became the Christian capital of the world.

The Golden Canon Tables (British Library Add MS 5111/1 [ff. 10–11]) are spectacular witnesses to the remarkable quality of painting undertaken in Constantinople to embellish Christian texts. For one modern authority, they are ‘perhaps the most precious fragments of any Early Christian manuscript’ (Kurt Weitzmann, Late Antique and Early Christian Book Illumination, p. 116). Now mere fragments, they both hint at what fine early manuscripts of the Bible we might have lost and caution against rash generalisations based merely on those that have survived. The Canon Tables are now available on our Digitised Manuscripts website to view in glorious detail with the zoom feature.

The Golden Canon Tables: Add MS 5111/1, f. 10r

As we mentioned in a blogpost several weeks ago, as a text the canon tables are ubiquitous and fundamental to Christian copies of Scripture over many centuries. Of the two thousand or so manuscripts that each contains the Four Gospels in Greek (literally, the Tetraevangelion), the vast majority begin with these tables. Devised by the early Church Father Eusebius (d. 340), bishop of Caesarea in Palestine, these tables formed a unifying gateway to the fundamental but multiple narratives of the Evangelists Sts Matthew, Mark, Luke and John. Canon 1 lists passages common to all four Gospels, Canons 2–9 different combinations of two or three Gospels and Canon 10 those passages found only in one Gospel. Building on a system of dividing up the text of the Gospels into verses that he attributed to Ammonius of Alexandria, Eusebius assigned consecutive numbers to sections in each Gospel and used these numbers within his tables to correlate related passages. The present leaves are rare witnesses of an early revision of Eusebius’s tables.

The Golden Canon Tables are a chance survival. Separated from the text of the Four Gospels that they once prefaced, they were added to a Greek Gospels written sometime before 1189. As they survive, the tables comprise the end of Eusebius’s letter, part of Canon 1, all of Canons 8–9 and part of Canon 10. Originally each of the two leaves would have been around twice as large. Both letter and tables are written in an imposing majuscule, or upper case, script on parchment previously painted entirely with ‘shell’ gold, that is powdered gold suspended in a binding medium so-called because this pigment was often kept in a shell in the early Christian and medieval periods.

The Golden Canon Tables: Add MS 5111/1, f. 10v

Each is framed by magnificently illuminated columns and arches that distinctively combine rigorous geometric and linear forms with remarkable naturalistic features. Carefully drawn outlines and regularly applied paint stress the surface qualities of the overall architectural scheme. Elsewhere lavish and energetic brushwork emulate three-dimensional, natural forms, including lushly growing flowers and colourful birds. The letter is enclosed by one wide arch that once extended to the full width of the page and the tables by two narrower arches on each page.

Within the tables each of the arches is inscribed at the top with the canon number and subdivided below into further smaller arches, each of which is headed by the abbreviated name of the relevant Evangelist. Below each of these smaller arches are the parallel lists of section numbers for each Gospel, written in Greek letters and in groups of four.

The Golden Canon Tables: Add MS 5111/1, f. 11r (detail)

Within the surviving arches are four complete medallions with male bust portraits, three of which bear haloes. Each of these medallions emulates an ancient Roman form of portraiture known as the imago clipeata (shield portrait) which honoured the dead by a bust set within a round, shield-shaped form. The Christian symbol of the fish is included in the decorated arch directly above the bust portrait heading Canons 8 and 9. When complete the Golden Canon Tables probably contained twelve bust portraits. It has been argued that these memorialised the Apostles and were inspired by similar busts set in the arcades of the rotunda mausoleum of Constantine the Great located beside the Church of the Apostles at Constantinople.

For more information about Greek illuminated Gospels in general, including the Golden Canon Tables, please see our webspace dedicated to Greek manuscripts.

 

Further reading

Carl Nordenfalk, Die spätantiken Kanontafeln (Göteborg, 1938), pp. 127–46.

Carl Nordenfalk, ‘The Apostolic Canon Tables’, Gazette des Beaux-Arts, 62 (1963), 17–34 (pp. 19–21).

Kurt Weitzmann, Late Antique and Early Christian Book Illumination (London, 1977), pp. 19, 29, 116, pl. 43.

Byzantium: Treasures of Byzantine Art and Culture from British Collections, ed. by David Buckton (London, 1994), no. 68.

John Lowden, ‘The Beginnings of Biblical Illustration’, in Imaging the Early Medieval Bible, ed. by John Williams (University Park, PA, 1999), pp. 9–59 (pp. 24–26).

Scot McKendrick and Kathleen Doyle, The Art of the Bible: Illuminated Manuscripts from the Medieval World (London: Thames & Hudson, 2016), available online. 

 

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2018 is going to be an exciting year at the British Library: as we recently announced, our major Anglo-Saxon Kingdoms exhibition opens on 19 October. In the coming months we will be exploring an item from the upcoming exhibition, an 11th-century calendar illustrated with text in gold and drawings depicting seasonal activities. We hope some of our readers will be able to come and see it in person in the exhibition at the end of the year. For an explanation of medieval calendars, please see the introduction to our first calendar of the year.

Page for January, from a calendar, England, 1st half of the 11th century: Cotton MS Julius A VI, f. 3r

This calendar is one of only two to survive from early medieval England with detailed illustrations of farming, hunting and feasting. It forms part of a collection of material for calculating time and dates, such as tables for calculating lunar cycles and a tiny world map. It was probably owned by a monastic community who needed timekeeping materials to maintain the strict schedule of services demanded by the Rule of St Benedict. The calendar is now bound with a copy of poems, the Expositio hymnorum and canticles, copied at a slightly later date. They may have been together even in the medieval period. Both the hymnal and the calendar seem to have been made by talented scribes at a major scriptorium, such as that at Christ Church Cathedral, Canterbury.

Diagram pertaining to lunar cycles, centring on a tiny world map: Cotton MS Julius A VI, f. 15r

Both the text and illustrations are closely related to the calendar in a collection of geographical and chronological material made in southern England in the mid-11th century (Cotton MS Tiberius B V/1). Both feature the Metrical Calendar of Hampson, a poem with 365 verses, one for each day of the year. The illustrations for the various labours of the month are very similar as well. Both show ploughing scenes, each having three figures, with a bearded man guiding the plough.

Men ploughing: Cotton MS Julius A VI, f. 3r

Men ploughing: Cotton MS Tiberius B V/1, f. 3r

Some scholars have speculated that these images may be rare manuscript depictions of Anglo-Saxon slaves. In a dialogue written to help students practise Latin, the Anglo-Saxon writer Ælfric (fl. 980s-1000s) has the ploughman lament, ‘The work is hard, because I am not free.’

Detail of the ploughman’s dialogue, from Ælfric’s Colloquy: Cotton MS Tiberius A III, f. 61r

Ploughing might seem like an odd choice to depict on a calendar page for January, when the weather is cold and the ground is hard. Some scholars argue that ploughing came first in the calendar because it was a fundamental part of the agricultural cycle and also because the imagery of ploughing was used in religious symbolism. In the Bible, teachers and religious leaders are compared to people scattering seeds (Matthew 13), like the man walking behind the plough. As the users of this calendar — possibly a community of monks — prepared for the year ahead, the image of a plough may have focused their minds on practical priorities.

Capricorn: Cotton MS Julius A VI, f. 3r

Capricorn: Cotton MS Tiberius B V/1, f. 3r

Beyond the labours of the month, each page of the calendar includes a wealth of information about astronomy, time, astrology and history, packed into pages only 200 by 130 mm. Each page begins with a few lines about the zodiac signs associated with each month. Nearby, a roundel illustrates the zodiac sign for a given month. In the case of January, it is Capricorn. Medieval scribes depicted star signs including Capricorn in creative and diverse ways. In the Julius calendar, Capricorn has a fish-like tail, in contrast to the Tiberius calendar, where it is depicted with hooves.

Below, each day is represented by one row. Each row includes, among other things:

1. Roman numerals representing 'Golden Numbers', which were used to determine lunar cycles in a given year.
2. Greek letters, representing numbers used for calculations. Greek letters were used in calculations by early medieval scholars including Bede and Abbo of Fleury.
3. The letters A–G in blue, representing different days of the week.
4. Roman calendar days (kalends, nones and ides).
5. A verse for the day, from the Metrical Calendar of Hampson.
6. A gold cross, if the day coincided with a special feast day. The only feast day marked out on this page is 6 January. Judging from surviving descriptions of liturgy and hymnals from Thorney, Winchester and Exeter, services for Epiphany in tenth- and eleventh-century England were elaborate affairs, commemorating not only the Magi’s visit to Christ on that day, but also  his baptism and the miracle at the wedding at Cana, where Christ turned water into wine.

Detail of calendar page: Cotton MS Julius A VI, f. 3r

 

Detail of gold crosses marking special feast days: Cotton MS Julius A VI, f. 5r

 

Alison Hudson 

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