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Medieval manuscripts blog

34 posts categorized "Classics"

15 December 2019

Troy story 2

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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 Renaissance manuscript with a large initial 'C' containing a picture of Aeneas, in classical-style armour, carrying a elderly man and leading a little boy by the hand.
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.

Picture from a Renaissance manuscript showing the fight between Aeneas and Turnus. Turnus is on the ground and Aeneas is impaling him through the throat. They are surrounded by warriors watching the duel.
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.

A text page from a medieval manuscript with a city scape drawn faintly in the lower margin.
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.

Text page from a medieval manuscript with an elaborate border of foliate and a miniature of knights fighting on horseback
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.

A medieval manuscript with a double-page miniature of ships attacking a walled city.
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

Follow us on Twitter @BLMedieval

 

12 December 2019

Troy story

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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.

Men drag a giant horse statue into a walled city
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.

A print of a stone sculpture of the head and shoulders of an elderly man with a thick, curly beard and hair
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.

A wooden board inscribed with Greek writing
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.

A fragmentary piece of parchment with columns of Greek writing in a frame
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.

A fragmentary piece of parchment with columns of Greek writing in a frame
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.

Manuscript page in Greek, with lots of notes in the margins and between the lines of text
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

Follow us on Twitter @BLMedieval

 

14 November 2019

Classics lost and found

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Works written by ancient Greek and Roman authors have made a major impact on the world’s culture and society. They profoundly shaped medieval thought, as you can discover in Cillian O’Hogan’s article The Classical Past on the Polonsky England and France 700-1200 project website. Compared to their afterlife and significance, however, the number of classical writings that have actually survived is surprisingly low. Why were some works lost while others survived, and where can you find them?

A decorated initial in a medieval manuscript, featuring a bird-human hybrid creature.
Beginning of the book on the nature of the birds from Pliny’s Natural History: England, 2nd half of 12th century, Arundel MS 98, f. 85v

A large number of classical texts do not survive at all. For example, we have only about a third of the works of Aristotle. His famous treatise on laughter and comedy – desperately sought in Umberto Eco’s The Name of the Rose – has not come down to us. Some highly acclaimed pieces of ancient Greek lyrical poetry, such as Sappho’s poems, have also disappeared.

Many ancient plays, both in Greek and Latin, are only known by name. Various works of epic poetry, such as Cicero’s famous poem on his own historical significance, humbly titled On my own consulship, do not survive. Nor is there any trace of a substantial proportion of scientific and historical writings by ancient Greek and Roman authors. Sometimes we have hints of works only, such as this parchment book tag which used to serve as a 'title page' to a scroll containing Sophron’s Comedies on Women from the 5th century BC, now lost.

A piece of ancient papyrus bearing Greek writing
A book tag (syllibos) with the title of a lost papyrus scroll said to have contained Sophron’s Comedies on Women: Oxyrhynchus, Egypt, 1-2nd century, Papyrus 801

Traditionally, barbarian invasions and Christian monks have been blamed for intentionally destroying works of the classical past. The image of burning books and libraries is often evoked in scholarship, fiction and films alike. While this may have occasionally occurred, the biggest deciding factor for the survival or disappearance of classical texts is actually likely to be their use in medieval school education.

The reason for this is that works that made it onto school curricula tended to be copied more, so medieval scribes preserved them in large numbers. Texts that proved to be too difficult or unsuitable for use in schools were more prone to being lost. For example, of the 142 books of Livy’s exceptionally long work, The History of Rome from its Foundation, from the 1st century BC, only 35 books have survived intact, with the rest preserved only in extracts abridged for school use.

An ancient wooden tablet bearing a Greek inscription
An example of a classical text surviving through use in school - eight lines from Homer’s Iliad written on a wooden tablet by a teacher: Egypt, 3rd century, Add MS 33293

School curricula also explain why ancient grammatical literature was transmitted in surprising quantities across medieval Europe and the Mediterranean, including educational material for the study not only of Latin but also of ancient Greek. Popular texts, such as Priscian’s 5th-century Institutes of Latin Grammar, survive in large numbers, sometimes annotated with glosses or notes added in classrooms, as in this example from 11th-century France.

A medieval manuscript page containing lots of glosses and beginning with a decorated initial C.
A heavily annotated title page from an copy of a grammatical textbook by Priscian, which was widely used in medieval schools: France, 11th century, Harley MS 2763, f. 1r

Although schools filtered the classical tradition rather heavily, omitting a number of texts that we would now be eager to read, the ancient schoolmasters had a surprisingly broad literary grasp. We have works on ancient mythology such as Ovid’s Metamorphoses, and encyclopaedic works such as Pliny’s Natural History. The works of Homer in the Eastern Mediterranean and Virgil, Cicero, Horace and Ovid in the West all survived thanks to their inclusion in late antique and medieval secondary education.

This key role of schools in the transmission of the classical past sheds a special light on other surviving texts, too. Ancient Roman plays, for example, have come down to us not as scripts for theatrical performances but rather as school manuals. They were used to teach students how to find the right words, tone and style to use in various situations, from speeches at courts to creative writing, as in this copy of the plays by the 2nd-century BC playwright, Terence.

A medieval manuscript page
An annotated school copy of comedies by Terence: Germany, 11th century, Harley MS 2750,  f. 65r

But besides medieval manuscripts, there is another source which reveals additional clues about classical texts: the papyri preserved in the sand of Egypt. The large number of papyrus fragments excavated at various sites in Egypt have already filled many of the gaps in our knowledge of the Classics. They have supplied us with lost works by Aristotle (The Constitution of Athens), almost complete comedies (such as The Hated Man by the 4th-century BC Menander), and unique fragments from Sappho, alongside remarkable survivals of ancient science. Many of these amazing finds are in the British Library’s collections and are presented in articles on our Greek Manuscripts website.

A damaged fragment of ancient papyrus with Greek writing on.
Papyrus fragment showing the last lines and close (colophon) of Menander’s comedy, The Hated Man: Egypt, Oxyrhynchus, 4th century, Papyrus 3077

Here, you will find more on the Aristotle papyrus, a remarkable medical fragment and some carbonised scrolls from the destroyed city of Herculaneum.

Whether preserved in medieval libraries or in archaeological sites, the works of the classical past continue to inspire us. As work on the British Library’s collection of ancient texts continues worldwide, we hope that there are many more discoveries to come.

Peter Toth

Follow us on Twitter @BLMedieval

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15 August 2018

New papyrus position at the British Library

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The British Library is delighted to be able to offer a full time papyrus cataloguing and researcher post to work on our world-famous collection of Greek and Latin papyri. This one-year, fixed-term position will be based in the Ancient, Medieval and Early Modern Manuscripts section of the Library’s Western Heritage Collections department in London.

PaoyrusPost_1

Drawing from a collection of magical spells, Egypt (Hermopolis), 5th century: Papyrus 122

The British Library holds one of the world's most important collections of Greek papyri. Its diverse holdings comprise unique witnesses of Greek classical literature, early biblical fragments, magical papyri and an extensive corpus of Greek documentary papyri. This collection of more than 3000 items is now being fully digitised and published online. Newly created images, accompanied with new catalogue entries, will be accessible on the Library’s Digitised Manuscripts site as well as in a new viewer with additional functionalities to enhance further research.

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The Constitution of Athens, Papyrus 131, in our new Universal Viewer

The post-holder will contribute towards the cataloguing associated with this digitisation project. They will create and enhance catalogue entries for the newly-digitised items and will oversee the processing of digital images. Using their specialist knowledge of Greek papyrology and expertise in Ancient Greek and Latin, the cataloguer will be expected to promote the papyrus collection to a wide range of audiences using the Medieval Manuscripts Blog and Twitter feed, as well as participating in events at the Library.

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A 6th-century Latin papyrus fragment of a homily by Gregory the Great: Cotton MS Titus C XV, f. 1r

This post provides the opportunity for someone with a strong background in Greek papyrology to join a dynamic and diverse team to support the full digitisation and online presentation of one of the world’s greatest collections of Greek papyri.

To apply, please visit www.bl.uk/careers. Full details of the position (reference 02248) can be found here.

Closing date: 9 September 2018

Interviews will be held on: 19 September 2018

24 February 2018

Harry Potter meets the Middle Ages

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An illustration of Fawkes the Phoenix, advertising the British Library's Harry Potter exhibition.

Harry Potter: A History of Magic has been a rip-roaring success. Not only has every session of every day of our exhibition sold out (a first for the British Library), and not only did we sell more advance tickets than Tate's Hockney blockbuster, but the accompanying books have been bestsellers both in the United Kingdom and overseas. If you managed to get to London to see the show, you will have noticed that we had a wealth of extraordinary objects on display, from J.K. Rowling's autograph manuscripts and drawings to genuine witches' broomsticks and exploded cauldrons. The exhibition also provided the opportunity for the Library to showcase its own collections relating to the history of magic, across the world and across the ages; and that forms the subject of this blogpost. 

You may be aware that Harry Potter: A History of Magic is organised according to certain of the subjects studied at Hogwarts School of Witchcraft and Wizardry. Readers of J.K. Rowling's novels will obviously be familiar with Potions, Herbology and Divination, but many of these themes are also rooted in real-life magic, tradition and folklore. This gave the exhibition curators the chance to call upon some of the British Library's world-class holdings of ancient, medieval and early modern manuscripts. There were so many to choose from. Today we are delighted to feature some of them here, many of which can also be viewed on our Digitised Manuscripts site. We'd love you to tell us your favourites using the comments field or via our Twitter feed (@BLMedieval).

Potions

First up in the exhibition is a room devoted to Potions, followed by another relating to Alchemy. Among the items on display there are these four extraordinary manuscripts, ranging in date from the 10th century to circa 1600, and providing Anglo-Saxon recipes to instructions for making your own Philosopher's Stone.

A page from Bald's Leechbook, showing Old English potions against poisoning and snake bites.

Potions against poisoning and snake bites, in Bald's Leechbook (England, 10th century): Royal MS 12 D XVII, f. 41v

A page from a medieval surgical handbook, showing an illustration of an apothecary shop.

An apothecary’s shop, in a surgeon’s manuscript (France, 14th century): Sloane MS 1977, f. 49v

A page from a 15th-century manuscript of the Splendor Solis, showing an illustration of an alchemical scholar holding a flask filled with a golden liquid.

Splendor Solis (Germany, 1582): Harley MS 3469, f. 4r

A section of the unfurled Ripley Scroll, showing illustrations of dragons and fantastical beasts.

How to make the Philosopher's Stone, in the Ripley Scroll (England, 16th century): Sloane MS 2523B

Herbology

Herbology is one of our favourite rooms, and here are some of the British Library manuscripts to be seen there, alongside, of course, our gnome alone. Previously on this blog, we've provided our readers with guidance on how to harvest a mandrake.

A page from a 16th-century Italian herbal, showing an illustration of a countryside, with a labourer digging for herbs.

Digging for herbs, in Extracts from an edition of Dioscorides, De re medica, assembled and illustrated by Gherardo Cibo (Italy, 16th century): Add MS 22332, f. 3r

A page from a 16th-century herbal, showing an illustration of a mandrake being pulled out of the ground by a dog.

A mandrake being pulled out by a dog, in Giovanni Cadamosto, Herbal (Italy or Germany, 16th century): Harley MS 3736, f. 59r

A page from a 12th-century English herbal, showing a drawing of a centaur with centaury.

A centaur with centaury (centaurea minor), in a herbal (England, 12th century): Harley MS 5294, f. 22r

A page from an Italian herbal, showing an illustration of a dragon, a serpent, and a plant.

A dragon and a serpent, in a herbal (Italy, 15th century): Sloane MS 4016, f. 38r

Charms

Visitors to our exhibition will have been charmed to see this papyrus (described in our blogpost 'It's a kind of magic'), as well as an early example of the Abracadabra charm, originally devised as a protection against malaria.

A 4th-century papyrus, showing a magical text written in Ancient Greek and a drawing of a magic ring.

A ring captioned ‘May something never happen as long as this remains buried’, in a Greek handbook for magic (Thebes, 4th century): Papyrus 46(5)

A page from a medieval medical miscellany, showing a text and a diagram containing the word abracadabra written out repeatedly.

The first recorded mention of the phrase ‘Abracadabra’, as a cure for malaria, in Quintus Serenus, Liber medicinalis (Canterbury, 13th century): Royal MS 12 E XXIII, f. 20r

Astronomy

You cannot be Sirius. The sky's the limit with these manuscripts, which we selected to illustrate the historical study of the night sky. Among them is Leonardo da Vinci's notebook, showing the Sun and Moon rotating round Earth.

A page from an Anglo-Saxon miscellany, showing a painted illustration of a centaur, representing the astrological sign Sagittarius.

Sagittarius, in Cicero’s Aratea (England, 11th century): Cotton MS Tiberius B V/1, f. 37r

A page from a medieval miscellany, showing an illustration of a dog, representing the constellation Sirius.

Sirius, in a medieval miscellany (Peterborough, 12th century): Cotton MS Tiberius C I, f. 28r

A page from a 15th-century manuscript of the Travels of John Mandeville, showing an illustration of astronomers on Mount Athos, studying the stars with astrolabes and quadrants.

Miniature of astronomers on Mount Athos, studying the stars with astrolabes and quadrants, and inscribing strange characters in the dust with sticks, in a set of illustrations for Mandeville’s Travels (Bohemia, 15th century): Add MS 24189, f. 15r

An opening from Leonardo da Vinci's notebook, showing notes on the subject of astronomy, written in Leonardo's mirrored handwriting, accompanied by sketched diagrams.

Astronomical notes and sketches, in Leonardo da Vinci’s Notebook (Italy, 16th century): Arundel MS 263, f. 104r + f. 107v

Divination

Harry Potter and Ron Weasley were never convinced by the methods they were taught to divine the future. If only they had been shown this 14th-century manuscript, they may have realised that Divination is a long-practised art.

A page from a medieval miscellany, showing a chiromantic ink diagram of a palm, used for divination.

Reading the hands, in a fortune-telling manuscript (England, 14th century): Royal MS 12 C XII, f. 107r

Defence Against the Dark Arts

Beware the basilisk, my friends. A medieval snake charmer, in contrast, could always come in useful. 

A page from the Historia animalium, showing a pen-and-ink drawing of a basilisk.

A basilisk, in Historia animalium (Italy, 1595): Add MS 82955, f. 129r

A page from a 13th-century bestiary, showing an illustration of a serpent and a snake-charmer.

Image of a snake charmer, in a bestiary (England, 13th century): Royal MS 12 C XIX, f. 67r

Care of Magical Creatures

And finally, we would like to share with you some of our beautiful unicorns and phoenixes, in the section of the exhibition devoted to Care of Magical Creatures. This unicorn is a very handsome chap, though some of his counterparts, strangely, have two horns.

A page from a 16th-century manuscript written in Greek, showing an illustration of a unicorn.

A unicorn, in Manuel Philes, On the properties of animals (Paris, 16th century): Burney MS 97, f. 18r

A page from a 13th-century bestiary, showing an illustration of a phoenix rising from the ashes.

A phoenix rising from the ashes, in a bestiary (England, 13th century): Harley MS 4751, f. 45r

A page from a 13th-century aviary and bestiary, showing an illustration of a siren and a centaur.

A siren and a centaur, in a bestiary (France?, 13th century): Sloane MS 278, f. 47r

Harry Potter: A History of Magic is completely sold out, sadly (it closes on 28 February); but we hope you've enjoyed this sneak preview into some of the manuscripts that have been on display. And you can read more about them in our exhibition books.

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

Follow us on Twitter @BLMedieval

27 January 2018

A mammoth list of Digitised Manuscripts hyperlinks

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We have been hard at work here at the British Library and we are excited to share with you a brand new list of Digitised Manuscripts hyperlinks. You can currently view on Digitised Manuscripts no less than 1,943 manuscripts and documents made in Europe before 1600, with more being added all the time. For a full list of what is currently available, please see this PDF Download Digitised MSS January 2018. This is also available in the form of an Excel spreadsheet Download Digitised MSS January 2018 (this format cannot be downloaded on all web browsers).

A 13th-century map of Britain, made by Matthew Paris.

Matthew Paris, Map of Britain, England (St Albans), 1255–1259: Cotton MS Claudius D VI/1, f. 12v

The list reflects the wide range of materials made available online through our recent on on-going digitisation projects, including Greek manuscripts and papyri, pre-1200 manuscripts from England and France thanks to funding from the Polonsky Foundation, and illuminated manuscripts in French and other European vernacular languages.

A page from a 13th-century Psalter, showing illustrations of the Journey of the Three Magi and the Magi arriving before King Herod.

Illustrations of the Journey of the Magi and the Magi before Herod, from a Psalter, England (London), 1220s: Lansdowne MS 420, f. 8r

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. We also recommend taking a look at the British Library's Collection Items pages, featuring Leonardo da Vinci’s notebook of scientific drawings and the single surviving copy of the Old English poem Beowulf.

A detail from the 6th-century Ravenna Papyrus, showing the text of a deed of sale written in Latin.

The British Library’s largest papyrus is over 2 metres long and features a deed of sale, Ravenna, 3 June 572: Add MS 5412 (detail of opening)

A detail from a 15th-century manuscript of Boccaccio's Des cas des nobles homes et femmes, showing an illustration of Boccaccio and Lady Fortune and a battle taking placing inside a walled and moated city.

Depiction of Boccaccio talking to the Lady Fortune and a battle in a walled, moated city, from Boccaccio’s Des cas des nobles homes et femmes, 3rd quarter of the 15th century: Add MS 35321, f. 180r

Follow us on Twitter, @BLMedieval, to get the latest news about our digitisation projects, events and exhibitions.

30 December 2017

Digging for inscriptions in medieval manuscripts

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Inscriptions are one of the key sources for understanding premodern history. Monuments carved in stone could outlast even the most carefully preserved papyri, and there are thousands of people in ancient times that go completely undocumented save for a single inscribed memorial. But monuments were subject to the elements, destroyed, and reused as building materials. We can look for evidence of lost inscriptions in medieval and early modern manuscripts.

Inscriptions copied after the Vitae Patrum: Add. MS 34758, f. 311r.

Inscriptions copied after the Vitae Patrum: Add MS 34758, f. 311r

Interest in inscriptions never completely died away during the Middle Ages. The Carolingians preserved some of the most important collections of inscriptions, such as that in Einsiedeln, Stiftsbibliothek, Codex 326(1076). Within the field of epigraphy (the study of inscriptions), these are called a ‘sylloge’. Such collections might be found as part of a travelogue, or simply copied as a note with an unrelated text. British Library Harley MS 3685, ff. 3r–5v, includes an important witness of the inscriptions Pope Damasus designed for the new Roman catacombs of the martyrs, now destroyed. Add MS 34758 was made at the monastery of St Andrew in Rome in the late 14th or early 15th century: after a copy of the Lives of the Desert Fathers comes two pages of inscriptions from Rome relating to its emperors (f. 311r–v). This text was copied in the same hand as what precedes it: either it was of interest to the original compiler, or it was copied along with the rest from an earlier manuscript. It shares some features with a well-known sylloge by Niccolò Signorili, suggesting a common source.

A stray inscription: Royal MS 12 B XXII, f. 2r.

A stray inscription: Royal MS 12 B XXII, f. 2r

Other inscriptions end up in manuscripts almost by accident. In Royal MS 12 B XXII, a copy of Calcidius’s Latin translation of Plato’s Timaeus, an inscription from the time of the Emperor Hadrian, datable between 10 December 123 and 9 December 124, has been included at f. 2r. It was likely written into the margin of an earlier copy, and was copied along with the rest as if it were a rubric or heading. This inscription was not known from any other sources before a reader noticed it in the 20th century.

An inscription copied from the house of Paulus Coronatus in Rome: Stowe MS 1016, f. 119v.

An inscription copied from the house of Paulus Coronatus in Rome: Stowe MS 1016, f. 119v

The most visually impressive example of manuscript epigraphy in the British Library is Stowe MS 1016, made by the scribe Bartolomeo Sanvito (1433–1511) some time after 1502. It includes a copy of a sylloge by his friend Fra Giovanni Giocondo, here in its third recension: he continued to revise the text as he saw new inscriptions. The results are stunning, even if some of the coloured monuments speak more of Renaissance than Classical tastes.

An inscription from a house in the Forum Piscarium: Stowe MS 1016, f. 123r.

An inscription from a house in the Forum Piscarium: Stowe MS 1016, f. 123r

The use of manuscripts for finding evidence about inscriptions is best known for Roman epigraphy, but it continues to be applicable in the modern day. Many inscriptions of Aphrodisias are best preserved in the notebooks made by William Sherard in 1705–16 while he was British consul at Smyrna (Add MSS 10101–2), with fair copies in Harley MS 7509. Ancient monuments continue to be threatened by war, neglect and pollution. Such documents are a poignant reminder of the importance of preserving the past while there is still time.

Andrew Dunning

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10 April 2017

The Wonders of Rome

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Even after the fall of the Roman Empire, the city of Rome never lost its draw. Objects of Roman provenance, whether art, saints’ relics, or even copies of texts, often continued to be treated with reverence. They were integrated into new creations and imitated in new artistic endeavours. Rome’s reception is the subject of a new exhibition in Germany, at the Diözesanmuseum Paderborn, running from 31 March to 13 August 2017, to which the British Library is delighted to be a lender: the exhibition is called (in English) The Wonders of Rome from a Northern Perspective.

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A view of the exhibition at Paderborn

One medieval manuscript included in the Paderborn exhibition is Matthew Paris’s Liber additamentorum (British Library Cotton MS Nero D I). Matthew Paris (d. 1259) was a monk of St Albans Abbey in Hertfordshire, and is renowned as a historian, artist and cartographer. His Liber additamentorum ('Book of Additions') is a collection of documents relating to the history of his abbey, and includes, among other texts, Matthew's Lives of the Two Offas and his Deeds of the Abbots of St Albans Abbey. On display in the exhibition is Matthew Paris's description of the gems and rings that belonged to the church of St Albans in his day (De anulis et gemmis et pallis que sunt de thesauro huius ecclesie), with his own illustrations.

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Matthew Paris’s description of the gems of St Albans: Cotton MS Nero D I, f. 146v.

Among the gems depicted by Matthew Paris is one passed on from antiquity: a cameo now thought to have depicted an emperor, Jupiter, or Asclepius. Matthew describes it in extensive detail, noting that it was used in childbirth: ‘For an infant about to be born escapes the approaching stone’ (Infantulus enim nasciturus lapidem subterfugit appropinquantem, f. 147r). This seems to have come about through interpretation of the classical imagery, which he describes as showing a man with a spear in his right hand, with a serpent crawling up it, and a boy on his left hand.

Also on display at Paderborn is the British Library’s Additional MS 12154, containing a description of Rome written in Syriac by Pseudo-Zacharias in the 6th century. It outlines its splendours in detail, including what is believed to be the first mention of Christian buildings in the city.

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Installing the exhibition at Paderborn

The British Library is a regular lender to exhibitions in the United Kingdom and overseas. We are very pleased to have been able to lend two of our early manuscripts, one in Latin and the other in Syriac, to the Diözesanmuseum, and we hope that our German readers are able to view these books in person at Paderborn. You may like to know that Matthew Paris's Liber additamentorum is also available to view in full, online and in high definition, on the British Library's Digitised Manuscripts site.

Andrew Dunning

Follow us on Twitter @BLMedieval