Medieval manuscripts blog

Bringing our medieval manuscripts to life

22 posts categorized "Digital scholarship"

16 February 2016

Joanna the Mad & Jheronimus Bosch

2016 is the 500th anniversary of the death of the Dutch painter Jheronimus Bosch (c. 1450-1516). The Noordbrabants Museum in s’Hertogenbosch (the city in which he spent most of his life) is holding an exhibition to celebrate his life and work , which opened on Saturday. It has been called 'one of the most important exhibitions of our century'.

One of the library’s manuscripts, Additional 18852, is on display in the exhibition, as the first item in the show. It is the prayer-book of Joanna the Mad (1479-1555). Joanna was queen of Castile and the sister of Katherine of Aragon, the first wife of Henry VIII. She suffered from mental illness and after the death of her husband, Philip the Handsome, King of Castile (1478-1506), her father had her forcibly confined to a convent in order that he might take control of her kingdom. According to some sources, she brought the corpse of her husband to the convent and kept it by her side, refusing to allow it to be buried.

Prayer-books or ‘Books of Hours’, contain a sequence of prayers and psalms to be said by their owners at each of the liturgical hours of the day. They were often decorated. Another Book of Hours in the library’s collection - Additional 35313, the Rothschild Hours - is also associated with Joanna (you can see a post on this manuscript here). This book is thought to have been made for a member of her family, and possibly the queen herself. However, the British Library manuscript which is in the exhibition is more personal. It contains two images of Joanna:

Add_ms_18852_f026r

Joanna of Castile flanked by St John the Baptist and her guardian angel, the Hours of Joanna the Mad, Add MS 18852, f. 26r

Add_ms_18852_f288r

Joanna of Castile kneeling in prayer, the Hours of Joanna the Mad, Add MS 18852, f. 288r

 

The book therefore belongs to a particular category of high-status Books of Hours, which offered their owners a bespoke kind of devotion. Owners could utter prayers to particular saints and see themselves visually realised on the page next to them.

In the first image, Joanna is seen flanked by Saint John the Baptist (her namesake saint) and her guardian angel. The image accompanies the opening of the prayer to the Guardian Angel.  In the margin to the right of the image, we can see Joanna’s initials alongside those of her husband, joined by a love-knot. The manuscript, which was produced in Bruges at the end of the fifteenth century, is extensively illustrated. Its decorative programme is a window onto the artistic environment which influenced Bosch. The manuscript throws Bosch’s fantastical and satirical work into relief. Its devotional scenes illustrate how maverick the painter’s work was.

Joanna’s prayer book contains an image of St Jerome in the wilderness. The scene is a familiar one from medieval art. In it St Jerome – the translator of the Vulgate Bible -- kneels beneath a crucifix in a lush, green meadow. Beside him is his companion, a lion, whose wounded paw the saint had nursed. On the ground at St Jerome’s feet is a discarded cardinal’s hat and robe, symbols of his rejection of earthly accolade.

Add_ms_18852_f328v
 

St Jerome in the Wilderness, the Hours of Joanna the Mad, Add MS 18852, f. 328v

When we compare it to Bosch’s image of St Jerome from the Hermit Saints Triptych, now housed in the Gallerie dell’Accademia in Venice, we can see the way Bosch reconfigured stock images into works of startling originality. Bosch’s vision is altogether darker, both literally and figuratively. The palette of bright colours has been replaced with a more muted range. In this image, the wilderness is a place of ruin, filled with unnerving creatures and broken masonry. There is no friendly lion here, instead in the foreground a lizard can be seen feasting on a stricken rat.  

  Jerome

St Jerome in the Wilderness, Hermit Saints Triptych, Jheronimus Bosch, Gallerie dell’Accademia, Venice. 

To see this image in the context of its triptych and to read about the latest research into Bosch, visit the Bosch Research and Conservation Project

~ Mary Wellesley

 

Related Content: 

The Books of Remarkable Women

Discover some of the library's most intriguing books produced for, owned, or created by medieval women. 

Pizan shrink

The Mystery of the Hours of Joanna the Mad

Read about another beautiful prayer-book in the library's collection which is associated with Joanna of Castile. 

Joanna shrink

 

11 February 2016

The Earliest English Poet

 Today is the feast day of Caedmon, the first known English poet. As well as being the first named poet in the English literary tradition, he is also a significant figure in the history of people who hate singing in public, people who develop new talents later in life, and of cowherds.

 Caedmon’s work and the story of his life are described in the Ecclesiastical History of English People written by the eighth-century monk, Bede. An eighth-century manuscript of this work-- which was possibly even copied at Bede’s own monastery of Monkwearmouth-Jarrow-- has recently been uploaded to our Digitised Manuscripts website as part of our Anglo-Saxon digitisation project. Sadly, it was damaged in the Ashburnham House fire in 1731, but it is still somewhat legible. In it, Bede gives us some biographical detail about Caedmon. Although we might imagine that English’s first poet would have been a highly educated individual, Caedmon was, in fact, a cowherd at the monastery of Whitby who did not take religious orders ‘until he was well advanced in years’. In this sense, Caedmon is a remarkable figure in Bede’s history, as he is one of the few non-elite figures to get a mention.


Cotton_ms_tiberius_a_xiv_f025r
Detail of initials from Bede, Ecclesiastical History of the English People, England (Wearmouth-Jarrow?), mid-8th-early 9th century, Cotton Tiberius A XIV, ff. 25r

Little in Caedmon’s early life suggested that he might become one of the greatest poets of his age. Ever the retiring type, he was so shy about singing or speaking in public that, according to Bede, when people began singing at parties, he would leave ‘as soon as he saw the harp approaching him’ (Bede, Ecclesiastical History, iv.24).

Cotton_ms_tiberius_a_xiv_f144r
Page containing Bede’s account of Caedmon, from Bede, Ecclesiastical History of the English People, England (Wearmouth-Jarrow?), mid-8th-early 9th century, Cotton Tiberius A XIV, ff. 144r

It was only later in life that he began to write verse and compose song. Bede recounts how one night, when he was sleeping in the cowshed, Caedmon had a vision. When he woke, he remembered the song he had sung in his dream, and astounded everyone at the abbey with his beautiful poetry. Later on, he would impress the monastery’s leaders, including the abbess St Hilda, with his capacity to compose verse on complex theological topics which the monks and nuns discussed with him. (Caedmon might make a suitable patron saint for interdisciplinary work.)

Unfortunately all but one of Caedmon’s poems are lost. The sole surviving example is known as Caedmon’s Hymn and survives in manuscripts of Bede’s Ecclesiastical History. Some manuscripts provide a Latin translation, while others give a Latin translation and an Old English version. The different Old English versions use various regional dialects, including Northumbrian and West Saxon. One of the manuscripts containing the West Saxon version of this very precious literary fragment is British Library Cotton MS Otho B XI. The manuscript was unfortunately also damaged in the fire of 1731, but an early modern transcript of it survives (British Library Additional MS 43703). In Old and Middle English c. 890-c.1450, Elaine Treharne translates Caedmon's hymn into modern English as:

'Now we ought to praise the Guardian of the heavenly kingdom,

The might of the Creator and his conception,

The work of the glorious Father, as he of each of the wonders,

Eternal Lord, established the beginning.

He first created for the sons of men [children of earth in West Saxon version]

Heaven as a roof, holy Creator;

Then the middle-earth, the Guardian of mankind,

The eternal Lord, afterwards made

The earth for men, the Lord almighty.'

The hymn is a work in praise of God. It grabs the reader from its opening word ‘Nu’, meaning ‘Now’, making the poem feel immediate.  From there it proceeds to celebrate all of creation in a mere nine lines. Like all Old English verse, it uses musical alliteration. It closes, powerfully, with the word ‘allmectig’, ‘Almighty’, in praise of God.

Cotton_ms_tiberius_a_xiv_f079v


Detail of an initial from Bede, Ecclesiastical History of the English People, England (Wearmouth-Jarrow?), mid-8th-early 9th century, Cotton Tiberius A XIV, ff. 79v

Bede’s point, in his story about Caedmon, is that poetry is transformational, mystical and god-given. For, according to Bede, ‘no other English poets could compare’ with Caedmon, the humble late-comer not trained by human teachers, whose poetry in turn transformed and inspired those who read it in the Anglo-Saxon period and beyond.

~ Mary Wellesley and Alison Hudson

 

 You May Also Like:

Monsters and Marvels in the Beowulf Manuscript

Read about one of the library's treasures, the Beowulf Manuscript, which contains the earliest epic poem in English literature as well as some monsters and marvels. 

Beo shrink

 

Anglo-Saxon Invasion

Read about important fragments of Old English which have been digitised by the library. 

Orosius shrink

01 February 2016

Exploding Eyes, Beer from Bath-Water and Butter from Nettles: the Extraordinary Life of Brigid of Kildare

 

Today, February 1st, is the feast day of saint Brigid of Kildare (d. c. 524).  Brigid or ‘Brigit’ or ‘Bride’ was a virgin and abbess, and is the patron saint of dairymaids, poets, blacksmiths and healers. She is one of the most popular medieval Irish saints, with numerous churches and shrines dedicated to her both in Ireland and elsewhere. Her iconographical emblem is the cow.

There are multiple versions of the life of Brigid in both Old Irish and Latin. The earliest, written in Latin, dates from around a century after her death. All the versions are hazy in their biographical detail, but what they lack in biography, they more than make up for with colourful miracle stories.

A lot of the stories about Brigid, in each of the versions of her life, or ‘hagiography’, revolve around food – we find miracles associated with milk, butter, bacon and also beer. The library holds a very early manuscript of one of the Latin versions of Brigid’s life, Additional MS 34124. It dates from 850 and comes from Benediktbeuren in Germany. There is a story in this manuscript about how one night Brigid was expecting guests and realised she was short of food. Fearing that the evening’s feast would be ruined, she was able to change nettles into butter and tree bark into ‘the richest and most delicious bacon’. (Chapter 119)

Many of these miracle stories mirror stories from the Gospels. In John 2:2-12, we find the story of how Christ turns water into wine at the Supper at Cana. In the earliest Latin life of Brigid, by Cogitosus, we find a similar story in which Brigid realises she has no beer to give to her guests, whereupon ‘with the power of her faith’ was able to turn bath-water into beer. (Chapter 8)

Alongside the miracles associated with food and beer, there are also miracles involving amorous misadventures. A story from the earliest Irish life, from a manuscript in the Bodleian library in Oxford (MS Rawlinson B. 512) describes how a man came to Brigid’s house and asked for her hand in marriage. Having sworn a vow of virginity, Brigid was not taken with the idea. She declined the offer, but - ever magnanimous – offered her suitor an alternative. The text relates how she instructed him to go to a wood to the west of his house. In the wood, she tells him, he will find a house in which there is a beautiful maiden – he will know her because she will be washing her father’s head. Perhaps fearing that the suitor’s charms might be lost on this maiden, Brigid tells him ‘I shall bless your face and your speech so that they shall take pleasure in whatever you will say’. (Chapter 15) Brigid might make a suitable patron saint for first dates as well.

One of the Latin lives has a different version of this story. In this version Brigid is encouraged to take the hand of her suitor by her father and brothers. Reluctant to do this, she prays to God to be afflicted with a bodily deformity, whereupon, the life describes how ‘one of her eyes burst and liquefied in her head’. (Chapter 19)

A much later writer, Gerald of Wales (d. c. 1220) in his topographical guide to Ireland, dedicated to Henry II, has extensive descriptions of Brigid’s abbey and shrine. He describes a fire kept burning at the shrine, which is tended by a small group of nuns. The fire never goes out, and despite burning for centuries, it never produces any ash. It is surrounded by a hedge, which no man is allowed to enter. Only women are allowed to tend to the fire and to blow on it. Gerald relates a story about how an archer lept over the hedge and blew on the fire. On jumping back over the hedge, the archer began to lose his senses and blow into the faces of everyone he met. Then, consumed by thirst, he begged his friends to take him to some nearby water, where he drank so much that he burst. (Chapter 77)

You can see an image of Brigid’s fire, from a manuscript of Gerald of Wales’ Topographia Hiberniae (Royal MS 13 B VIII, f.23v) held at the library here. In the right of the image we can see the archer ill-advisedly blowing on the fire and then subsequently attempting to sate his thirst at a river.

Brigid's fire

Here you can see two of calendar pages from Books of Hours (prayer-books) for the month of February. In them, you can see saint Brigid’s name at the start, next to February 1st. This one (Additional MS 21114, f. 1v), produced in Northern France in the thirteenth century, shows a man cutting branches. The word ‘brigide’ is visible in the third line.  

Brigid calendar

In this one (Egerton MS 2076, f. 2r) produced in Germany in the early sixteenth century, the words ‘Brigide virginis’ are visible in the second line.   

Calendar page brigid

 

Mary Wellesley, Feast of Saint Brigid, 2016.

Further Reading:

For a translation of the earliest life of Brigid in Latin, by Cogitosus, see S. Connolly and J.M. Picard, ‘Cogitosus: Life of Saint Brigit’, Journal of the Royal Society of Antiquaries of Ireland, 117 (1987), 5-27.

A translation of the earliest Old Irish life of Brigid can be found in M. A. O’Brien, ‘The Old Irish Life of Saint Brigit’, Irish Historical Studies, I (1938-9), 121-34.

A translation of another version of the Latin life, from a manuscript found in the library’s collection can be read in S. Connolly, ‘Vita Sanctae Brigitae: Background and Historical Value’, Journal of the Royal Society of Antiquaries of Ireland, 118 (1988), 5-49.

A translation of Gerald of Wales’ Topographia Hibernica can be read in Gerald of Wales, The History and Topography of Ireland, ed. and trans. by John J. O’Meara (Harmondsworth: Penguin, 1982).

14 January 2016

A Belated Holiday Gift from Us: a Giant List of Digitised Manuscript Hyperlinks!

It's that time of year again, friends, and we're pleased to (belatedly) celebrate the holidays by giving you a magnificent gift.  This gift is certainly worth the wait, though - a massive list of Digitised Manuscripts hyperlinks!  We're mixing it up a little bit this time, though, as the list is now a PDF, but fully searchable and with working hyperlinks.  You can download it here:  Download BL AMEM Digitised Manuscripts Master List.  There are 1429 manuscripts on this list now, we are staggered to report.

Add_ms_88991_f002v
Illuminated frontispiece of the marital arms of Edward Seymour, Earl of Hertford (created 1st Duke of Somerset, and Lord Protector in 1547) and his second wife, Lady Anne Stanhope, with the Seymour family motto ‘Foy pour Devoir’, from the Taverner Prayer Book, England (London), c. 1540, Add MS 88991, f. 2v

In honour of our biggest ever list of hyperlinks, we're pleased to share one of our smallest manuscripts, the Taverner Prayer Book (see above), which recently went online.  We've also added quite a few manuscripts from our Anglo-Saxon project, along with many from the illuminated collections in general.  We have some big plans for the coming year and many more manuscripts to share with you, so watch this space!

-   Sarah J Biggs

08 December 2015

New Images of the Book of the Queen

The Book of the Queen is one of the most treasured manuscripts held by the British Library. This beautifully illuminated collection of works by Christine de Pizan was made for Isabel (Isabeau) of Bavaria (b. 1371, d. 1435), queen consort of Charles VI of France. It is believed that Christine herself supervised the assembly of the book and may have even been involved in copying passages of text. You can find out more about Christine and this wonderful book here.

Harley MS 4431_f.3r

Detail of a miniature of Christine de Pizan presenting her manuscript to Queen Isabel of Bavaria, from the Book of the Queen, France (Paris), c. 1410 – c. 1414, Harley MS 4431, f. 3r

Queen Isabel was not the only medieval female reader to enjoy this copy of Christine’s works. Later in the 15th century, the manuscript was owned by Jacquetta of Luxembourg (b. c. 1416, d. 1472), wife of John [of  Lancaster], Duke of Bedford (b. 1389, d. 1435). Jacquetta was not shy about leaving her trace on this highly prized manuscript, writing her name and her motto, ‘sur tous autres’ [over/above all others], on multiple folios.

Harley_ms_4431_f052v

Inscription of ‘Jaquete’ in the outer margin of Christine’s Epistre au Dieu d'Amours, Harley MS 4431, f. 52v

Thanks to the work of our fantastic Imaging Scientist, Dr Christina Duffy, we have new images of the ownership marks left by Jacquetta. By comparing the inscription of her motto on f. 387r with the damaged inscription above her name on f. 1r, Christina has helped to establish with more certainty that Jacquetta’s motto was also written on f. 1r.

Harley 4431 motto

Comparison of the damaged inscription on f. 1r with the motto on f. 387r. Images processed at the British Library by Dr Christina Duffy. Copyright of the British Library Board.

Christina has also rendered Jacquetta’s most unusual inscription more legible. It occurs in a miniature on f. 115v, which depicts Aurora bringing the dawn, and below her, a peasant, fastening his trousers and entering a hen house.

Harley_ms_4431_f115v

Detail of a miniature of Aurora bringing the dawn, with a peasant, fastening his trousers and entering a hen house, from the Epistre Othéa, Harley MS 4431, f. 115v

0000017725_XYZ_Y(norm_w_2pct,equalized,8-bit)_full (1)-2

Inscription up the right side of the hen house in the miniature on f. 115v. Image processed at the British Library by Dr Christina Duffy. Copyright of the British Library Board.

Of all the dramatic scenes that illustrate the Epistre Othéa, why did Jacquetta choose this one? Did she identify with the resplendent beauty of Aurora? Was she a morning person? Did this half-dressed fellow take her fancy? Share your thoughts with @BLMedieval!

For information on Jacquetta’s marks of ownership see:

Christine de Pizan: The Making of the Queen's Manuscript (London, British Library, Harley MS 4431)

Sandra Hindman, 'The Composition of the Manuscript of Christine de Pizan's Collected Works in the British Library: A Reassessment', British Library Journal, 9 (1983), 93-123.

You can discover more about Christina’s work by following her on Twitter and by checking out the Collection Care blog, which discusses the activities of the British Library’s scientists and conservators. Christina’s most important collaborations with the Section of Ancient, Medieval and Early Modern Manuscripts include the creation of a CT scan of the St Cuthbert Gospel and her ground-breaking multispectral imaging work on the British Library’s burnt copy of Magna Carta 1215 .

- Hannah Morcos

Medieval manuscripts blog recent posts

Archives

Tags

Other British Library blogs