04 October 2024
Medieval Women exhibition book available now!
There’s just one month to go until the opening of our new exhibition Medieval Women: In Their Own Words. We can’t wait for visitors to come and explore the rich and complex lives of women in the Middle Ages!
If you can’t wait either, then you might be excited to learn that the exhibition book, Medieval Women: Voices & Visions, is now available for pre-order from the British Library’s online bookshop. All orders will be dispatched after 25 October, the exhibition's opening date.
Drawing on the exhibition items, the book takes a deeper dive into the lives and times of women in Europe in the period of roughly 1100–1500. It begins with a preface by International bestselling author and British Library board member Kate Mosse, followed by an introduction by the exhibition’s lead curator, Eleanor Jackson. The book contains nine chapters exploring over-arching themes, and forty-three short ‘spotlights’ that shine a light on particular women, events and issues, all written by experts in the field.
The volume is divided into four main sections reflecting women’s contributions right across medieval society: ‘Private Lives’, exploring women’s bodies, health, households and family life; ‘Public Lives’, focusing on women’s power and political involvement; ‘Working Lives’, revealing women’s work and creativity; and ‘Spiritual Lives’, uncovering women’s experiences as visionaries, heretics, and in religious communities. It tells the stories of a wide variety of women: from queens to peasants, nuns to sex-workers, physicians to artists.
Sumptuously illustrated, the book is a feast for the eyes. There are images of most of the items on display in the exhibition, and many more!
You can pre-order your copy of the Medieval Women exhibition book now on the British Library website.
The exhibition Medieval Women: In Their Own Words is open at the British Library from 25 October 2024 to 2 March 2025. You can pre-book your tickets online now.
This exhibition is made possible with support from Joanna and Graham Barker, Unwin Charitable Trust, and Cockayne – Grants for the Arts: a donor advised fund held at the London Community Foundation.
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08 March 2024
Medieval Women exhibition
We have some exciting news — pass it on! In October 2024, our major exhibition Medieval Women: In Their Own Words opens at the British Library in London. The exhibition will explore the challenges, achievements and daily lives of women in Europe from 1100 to 1500. It will tell the history of medieval women through their own words and uncover their lives through manuscripts, documents and artefacts. What are you waiting for? See our ticketing page to book your tickets!
Women’s lives during the Middle Ages were rich and varied. The exhibition will reveal that women exerted great influence across private, public and spiritual realms. It will delve into the lived experiences of medieval women, including their beauty regimes and healthcare, their personal relationships and the running of their homes. It will shed light on their work in a wide variety of trades and professions, their role in medieval politics, the power and influence they wielded as spiritual visionaries or nuns, and the art, music and literature that they created.
Visitors will discover objects related to inspiring figures such as: Joan of Arc, the religious visionary and military leader; Christine de Pizan, the first professional woman author in Europe; and Shajar Al-Durr, the female ruler of Egypt who defeated Louis IX of France in the Seventh Crusade.
The exhibition will take visitors on a journey through the lives of medieval women across cultures, religions and class. Exploring both their struggles and successes, the exhibition prompts visitors to discover how medieval women’s voices still resonate across the centuries and speak powerfully to our world today.
Medieval Women: In Their Own Words is on show at the British Library from 25 October 2024 to 2 March 2025. Keep checking this blog for more information about the exhibition and our events programme, and book your tickets online on the British Library website.
This exhibition is made possible with support from Joanna and Graham Barker, Unwin Charitable Trust, and Cockayne – Grants for the Arts: a donor advised fund held at the London Community Foundation.
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06 March 2024
Chaucer at the Bodleian
The British Library is delighted to be a lender to the exhibition Chaucer Here and Now at the Bodleian Library in Oxford. The exhibition runs until 28 April 2024 and is free to visit, so don't delay!
On display in the introductory section is our manuscript of the Prologue of the Wife of Bath's Tale, with marginal annotations by the scribe giving their own (misogynistic) commentary on the text. The accompanying label not surprisingly titles this 'Mansplaining', and it echoes the exhibition's overall theme, which examines how different generations have reinterpreted Geoffrey Chaucer's works.
The annotated Prologue to the Wife of Bath's Tale, part of Geoffrey Chaucer's Canterbury Tales, on loan from the British Library
We very much admire the exhibition's fetching design and the wonderful array of objects on show, including manuscripts loaned by the National Library of Wales, Corpus Christi College, Cambridge, and our friends in Oxford. The curator, Professor Marion Turner, has unearthed some incredible items and stories. We particularly like the cases devoted to modern translations of Chaucer, as well as to film and stage adaptations of his works. The graphics at the entrance to the exhibition invite visitors to consider whether this famous Middle English poet was 'multicultural, conservative, irreverent, comic, rude, respectful, imperial', and a host of similar terms.
The display of translations of the works of Geoffrey Chaucer
The colourful display of cinematic and theatrical productions of Chaucer's works
This loan is one of many organised by the British Library's curators, conservators and Registry, as part of our ongoing commitment towards national and international cultural partnerships. In the next few months we are lending other manuscripts to exhibitions in France, Germany, Scotland and England, so keep an eye on this Blog for more details about how you may be able to view them in person.
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19 February 2023
Alexander, Porrus and the peacock
The French Alexander Romance is a long and complex narrative, in which miraculous deeds and encounters at the edges of the known world are grafted onto the real journeys of conquest and exploration by the historical figure, Alexander the Great. This work was so popular in the 14th century that further imaginary exploits were invented to supplement it in various ways, as shown in our exhibition, Alexander the Great: The Making of a Myth. One of these ‘spin-offs’, the Voeux du Paon (Vows of the Peacock), was composed in 1312 by Jacques de Longuyon, developing the medieval character of Alexander as a courtly figure, and inventing a new set of fictional companions for him.
The roast peacock is brought to the table and vows are made, in Les Voeux du Paon (?England, c. 1390–1400): Add MS 30864, f. 1r
The action in the Voeux du Paon takes place during a short interlude in the city of Epheson (?Ephesus) on Alexander’s final journey to Babylon. Alexander meets an elderly knight, Cassamus, who asks for his help to relieve the city from a siege by the evil Clarus, king of Ind; Clarus wishes to kill the young princes of Epheson, Gadifer and Betis, and marry their sister, Lady Fesonas. During a battle outside the palace, Porrus, a young Indian prince fighting alongside Clarus, is captured and imprisoned in the Chamber of Venus at Epheson, where he is treated with courtesy by the young courtiers, joining in their games.
Porrus in the chamber of Venus with Fesonas and young companions at Epheson: Oxford, Bodleian Library, Bodley MS 264, f. 133v
While wandering through the palace gardens one day, Porrus mistakenly shoots Lady Fesonas’s pet peacock, but she forgives him. It is plucked, roasted and dressed, and a feast is arranged. Courtly vows are made over the peacock under the tutelage of Alexander, who is portrayed as a force for reconciliation between East and West. He organises a competition whereby the young men undertake feats of prowess and the ladies promise themselves in marriage to suitable candidates. The subsequent military and courtly exploits are described in some detail. In the course of these, the concept of the Nine Worthies, the nine greatest knights of all time, is introduced.
Alexander watches as Canans is unhorsed by Lyonies, in Les Voeux du Paon: Add MS 30864, f. 10v
Edeas, one the young courtiers, vows to reconstruct the peacock in gold (this sets the scene for an entire new Romance: the sequel known as the Restor du Paon, ‘The Peacock Restored’). Having arranged the marriages and enjoyed fifteen days of celebration, Alexander sets off for Babylon, where he is destined to die by poisoning.
Honouring the Golden Peacock (Paris, 1335–1340): Add MS 16888, f. 142r
The text of the Voeux du Paon was sometimes copied within or alongside the Alexander Romance, as is the case in a manuscript from the Bodleian Library, Oxford, Bodley MS 264. There are also numerous independent copies of the text. It has been judged the ‘most successful of all Old French Alexander poems’ by the scholar, David Ross, with over 40 manuscripts surviving from across Europe, many of them richly illustrated and owned by important collectors like the Dukes of Burgundy.
Alexander at the banquet of the Voeux du Paon: Bodley MS 264, f. 146v
In 1381 a banquet was held at the court of Aragon in Spain, where vows were taken over a peacock, while in 1454 Philip the Good, Duke of Burgundy, held a banquet at Lille, known as the Banquet du Faisan (Pheasant). These somewhat bizarre princely rituals involving roast poultry (albeit of the luxury variety) were probably inspired by the Alexander/Peacock legend.
Courtly pursuits in Epheson: Bodley MS 264, f. 127v
In the sequel romance Restor du Paon ('The Peacock Restored'), Edeas re-creates the peacock in gold and jewels and Alexander bestows a prize on Betis, the most worthy of the men. A second sequel, the Parfait du Paon (‘The Peacock completed’), has Alexander taking part in a literary contest by composing ballads.
Goldsmiths at work on the peacock: Bodley MS 264, f. 164v
And this was not the only ‘sequel’ to trade on the popularity of the Alexander Romance in the 14th and 15th centuries. Characters from the Peacock cycle, including Betis and Gadifer, reappear in Perceforest, a tale that supposedly takes place in pre-Arthurian Britain. Taking a detour by ship while on his journey to Babylon, Alexander is blown off course by a storm and (with a certain geographical licence) lands in the British Isles, where he founds a new dynasty and invents the medieval tournament.
A tournament in ancient Britain, in Perceforest (Bruges, c. 1500): Royal MS 19 E II, f.305r
You can learn more about the Alexander Romance on our website: bl.uk/alexander-the-great
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards the exhibition, as well as other trusts and private donors.
Chantry Westwell
Follow us on Twitter @BLMedieval
17 February 2023
Alexander, a medieval super-hero
Alexander the Great is a hero who transcends time and space, as our wonderful exhibition, Alexander the Great: The Making of a Myth, demonstrates. In the Middle Ages, he was revered as a member of the Nine Worthies (Neuf Preux), a select group of illustrious heroes who represented the pinnacle of glory, courage and military leadership. The French word preux translates into English as ‘worthies’ but it is related to prouesse, equivalent to ‘prowess’ or ‘valour’. This virtue encompasses a host of chivalric qualities that were first associated with Olivier, hero of the French national epic, the Chanson de Roland.
Alexander leading his army, in the Roman d’Alexandre (Rouen, 1445) Royal MS 15 E VI f. 9r
The Nine Worthies are divided into three groups, each containing three famous men. The first group comprises three classical or ‘pagan’ heroes, among them Alexander the Great.
Classical Heroes: Alexander, Hector of Troy and Julius Caesar
The coronation of Alexander the Great, in Le livre et le vraye histoire du bon roy Alixandre (Paris, c. 1420): Royal MS 20 B XX, f. 14r
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Hector with Priam, in L'Épître Othéa (Paris, c. 1410): Harley MS 4431, f. 136 |
Julius Caesar leading his army, in Bellum Gallicum (Lille or Bruges, c. 1475): Royal MS 16 G VIII, f. 147v |
The second group is made up of three biblical heroes from the Old Testament.
Old Testament Kings: Joshua, David and Judas Maccabeus
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Joshua receiving a lance from God, in Bible moralisée (Bruges, c. 1455): Add MS 15248, f. 54v |
Coronation of David, in ‘Breviary of Queen Isabella of Castile’ (Bruges, c. 1497): Add MS 18851, f. 124r |
Judas Maccabeus capturing a city, in Bible Historiale (Bruges, c. 1475): Royal MS 15 D I, f. 134r |
The third group consists of Christian monarchs, including more contemporary figures.
Medieval Christian monarchs: Arthur, Charlemagne and Godfrey de Bouillon, the crusader king
| Arthur at Camelot, in Guiron le Courtois (Napes, c. 1360): Add MS 12228, f. 221v | Charlemagne leading his army, in the Talbot-Shrewsbury Book: Royal MS 15 E VI, f. 181v | Godfrey in his palace, in Histoire de Godefroy, roy de Jerusalem (Bruges, late 15th century): Royal MS 17 F V, f. 3r |
All nine exceptional characters were endowed with the attributes of a perfect medieval knight, as portrayed in these manuscript illuminations.
The earliest written description of the Nine Worthies is in Jacques de Longuyon’s Voeux du Paon, a French legend of the late 14th century linked to the Alexander Romance. Allegedly, while on a detour from Alexander’s final journey to Babylon, his young companions took the ‘Vows of the Peacock’ at a feast where roast peacock was served. By fulfilling these vows, they attempted to live up to the exceptional deeds of the nine greatest heroes of all time: ‘les ix millors qui fussent puis le commandement que Diex ot fait le ciel et la terre et le vent’ ('the nine best of all, since the sky, the earth and the wind were created by God’s commandment').
The roast peacock is brought to the table and vows are made, in Les Voeux du Paon (?England, c. 1390–1400): Add MS 30864, f. 1r
The deeds of each hero are listed, including those of Alexander, who is praised for his victories and conquests.
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Apres fu Alixandres preus merveilleusement Il vainqui Nicholas et Dairon le persant Et occist la vermine des desers d’Oriant Il saisi Babyloine la fort cite plaisant Ou il morut apres par empoisounement En xii an il conquist tres viguereusement Quanques on puet conquerre desous le firmament |
'Then there was Alexander, marvellously valiant He defeated Nicholas and Darius the Persian And killed the vermin of the deserts of the Orient And captured Babylon, that most pleasant city Where he died afterwards by poisoning In 12 years he strenuously conquered As much as can be conquered under heaven.' |
(Transcription based on Bodleian Library, Bodley MS 264 and Paul Meyer ‘Les Neuf Preux’ (1883); my translation.)
Alexander and his army crossing a frozen river in Persia, in Des faiz du grant Alexandre (Bruges, c. 1475): Royal MS 15 D IV, f. 101v
During the 15th and 16th centuries, the concept of the Nine Worthies spread throughout Europe. Tapestries were made for Philip the Bold, Duke of Burgundy, and the Duc de Berry, and pageants and parades on this theme were staged to mark important occasions. Panel paintings, medallions and engravings survive, and coats of arms were attributed to each of the heroes.
The arms of the Nine Worthies (late 15th century): Harley MS 2169, f. 5v
Later, nine ‘most illustrious ladies’ were chosen to be placed alongside the famous men. One of these, Penthesilea of the Amazons, is reported to have met Alexander. (You can read more about them in our blogpost on the Nine Worthy Women.)
Queen Penthesilea and the Amazons surrendering to Alexander the Great, in Histoire universelle (Acre, late 13th century): Add MS 15268, f. 203r
You can see this depiction of Queen Penthesilea and much more in Alexander the Great: The Making of a Myth. The show ends soon, on 19 February, so don't delay!
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards the exhibition, as well as other trusts and private donors.
Chantry Westwell
Follow us on Twitter @BLMedieval
16 February 2023
Knock, knock, knocking on heaven’s door
The British Library’s major exhibition, Alexander the Great: The Making of a Myth, showcases how stories about this ancient ruler were transformed and spread across centuries, cultures and languages. Some of these legends take Alexander to the unknown realms of the world, to face fantastic beasts, amazing people and terrifying monsters. But one story takes him even further — to the gates of Paradise.
Alexander’s army at the gates of Paradise, in Voyage au paradis terrestre, interpolated in the Roman d’Alexandre (Tournai, 1344): The Bodleian Libraries, University of Oxford, Bodley MS 264, f. 185v (detail).
Put together around AD 500 by the most eminent Jewish scholars of the time, the Babylonian Talmud is the most important source of rabbinic code in Judaism. It collects the replies and statements of prominent Jewish rabbis about various issues and questions. One of these (Tractate Tamid 32b) records the following story.
In the course of his adventures in the mythical East, Alexander reached the entrance of the Garden of Eden and raised a loud voice, calling out: “Open the gate for me!” The sentry of the Garden of Eden said to him: “This is the gate of the Lord; the righteous shall enter into it. Since you are not righteous, you may not enter.” He said to them: "If I will not be admitted, at least give me something from inside." They gave him one eyeball. He brought it and he weighed all the gold and silver that he had against the eyeball, and yet the riches did not balance against the eyeball’s greater weight. He said to his philosophers: "What is this? Why does this eyeball outweigh everything?" They said: "It is the eyeball of a mortal person of flesh and blood, which is not satisfied ever." He said to them: "From where do you know that this is the reason for the unbalanced scale?" The philosophers answered him: "Take a small amount of dirt and cover the eye." He did so, and it was immediately balanced by its proper counterweight. The eye is never satisfied while it can see.
The Hebrew version of Alexander’s visit to Paradise from the Talmud (Tamid 62b), Babylonian Talmud (20 volumes), Nehardea edition, published by Vagshal (Jerusalem, 1988)
This allegorical story of human greed, first recorded in the Talmud, became very popular in Jewish culture and started a life of its own, spreading even beyond Judaism. In the 12th century, it appears in an interesting Latin narrative which, according to its title, was translated from Hebrew by a certain Rabbi Salomon and spread quickly in medieval western Europe. During the translation process, the original concept of an eyeball given to Alexander was transformed into a miraculous stone that outweighed everything but, if covered with dust, was lighter than anything else. The general morale of the Hebrew story also became simple and clearer. In Alexandri Magni iter ad Paradisum (Alexander’s journey to Paradise) the philosophers simply tell Alexander, “The stone is you, your majesty”.
Turned into another gloomy premonition of Alexander’s upcoming death and the collapse of his empire, the Latin story was soon incorporated into various medieval versions of the Alexander Romance. It appears in one of the most famous medieval manuscripts of the Alexander Romance in the Bodleian Library, incorporated in the French Roman d’Alexandre, with exquisite illustrations depicting Alexander’s army in front of the gates of Paradise and the measure and assessment of the wondrous stone.
The guardian of paradise gifts the wonderstone to Alexander’s army (left); Alexander and his philosophers assess it (right): Bodley MS 264, f. 186r (detail)
Transmitted in the French Roman d’Alexandre, the story was further adapted in other prose and poetic retellings of Alexander’s legends. In the 16th-century Scots version of the Alexander Romance by Gilbert Hay, the mysterious gift Alexander receives from Paradise is transformed into a miraculous apple that changes colour and outweighs everything else, but becomes incredibly light-weighted when covered in clay. The changing colour of the apple and the shifting of its weight are both premonitions to Alexander that he should “think that þow has schorte tyme for to liff…”
Alexander receives the miraculous apple from Paradise, in tGilbert Hay, The Buike off King Allexander the Conqueroure (Scotland, 16th century): Add MS 40732, f. 228r
The incredible journey of the story of Alexander’s failed attempt to visit Paradise from 6th-century Hebrew sources through Latin adaptations and medieval vernacular legends is just one of the many legends are featured in Alexander the Great: The Making of a Myth. You can visit in person until 19th February 2023 or explore more online at bl.uk/alexander-the-great.
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards the exhibition, as well as other trusts and private donors.
Follow us on Twitter @BLMedieval
15 February 2023
Alexander the Great: a life in pictures
The Talbot Shrewsbury Book (Royal MS 15 E VI) is a remarkable work of art produced in Rouen in the mid-15th century. Comprising 15 texts, mostly legends and chansons de geste in French, it begins with the legendary life of Alexander the Great, known as the Roman d’Alexandre en prose.
Nectanebus enthroned in his palace at Babylon, with the ‘chastel du chaire (Cairo)’, the ‘jardin du baulme’, and waterwheels on the stream: Royal MS 15 E VI, f. 4v
The glorious frontispiece of this manuscript shows the Egyptian pharoah, Nectanebo, enthroned in his magnificent palace in the midst of the fairy-tale landscape of Babylon. This the first of 82 miniatures illustrating the life of Alexander the Great. The border contains the arms of Margaret of Anjou, the future wife of King Henry VI of England, and the arms of John Talbot, Earl of Shrewsbury, who presented this manuscript to her.
According to legend, Nectanebo seduced Alexander’s mother, Olympias, taking the form of the god Ammon while her husband Philip was away.
Nectanebo and Olympias lying naked in bed, watched by a dragon, which represents Nectanebo in disguise: Royal MS 15 E VI, f. 6r
Alexander’s father, Philip II of Macedon, appointed as his tutor the famous scientist and philosopher, Aristotle, who instructed him on topics ranging from astrology and alchemy to statecraft and ethics. They then corresponded while Alexander was on his travels.
Philip taking the young Alexander to Aristotle: Royal MS 15 E VI, f. 6v
As a young man, Alexander formed a bond with an extraordinary stallion who was to accompany him to the ends of the world. Bucephalus, whose name means ‘ox-horned’, was so violent that he was locked in a cage, but he recognised his true master in Alexander, who was immediately able to subdue him.
Alexander tames Bucephalus, and is granted ownership of the proud stallion by his father, Philip: Royal MS 15 E VI, f. 7r
Alexander was crowned King of Macedon in 336 BC after the assassination of his father. He immediately set off on his journey of conquest across Asia.
The coronation of Alexander by two bishops: Royal MS 15 E VI, f. 7v
Alexander's army marching and at sea: Royal MS 15 E VI, f. 9r
In time, Alexander founded more than 20 cities which took his name, including Alexandria in Egypt.
Alexander at the building of Alexandria: Royal MS 15 E VI, f. 9v
He defeated King Darius of Persia, taking control of this vast empire and, according to some accounts, marrying his daughter, Roxana.
The battle with Darius and Alexander’s marriage to Roxana: Royal MS 15 E VI, ff. 12r, 13v
Alexander marched on to India, defeating the ruler, Porus, and exploring the far reaches of this wonderful region. According to the legends, there he met the famous female warriors, the Amazons, besides battling flying dragons and beasts and encountering many strange creatures and peoples.
The Queen of the Amazons meeting Alexander; Alexander battling flying dragons and beasts; Alexander and crab-like creatures: Royal MS 15 E VI, f. 15v
As Alexander’s power increased, he became obsessed with his own mortality, seeking comfort from various oracles. In a frequently illustrated episode, he was taken to a sanctuary of the Sun and the Moon, where two trees, one male (Sun) and the other female (Moon), prophesied his death in Babylon.
Alexander and the soothsayer at the trees of the Sun and Moon: Royal MS 15 E VI, f. 18v
Determined to explore the outer reaches of the world, Alexander used griffins to ascend into the skies and a diving bell to explore the depths of the ocean.
Alexander’s flight with griffins, and his submarine adventure: Royal MS 15 E VI, f. 20v
Alexander meets blemmyae and horse-like creatures; the burial of Bucephalus; Alexander sees caladrius birds with sick people; a two-headed serpent, elephants and other beasts: Royal MS 15 E VI, f. 21v
Having arrived at the ocean, Alexander’s men were exhausted. They turned towards home, finally reaching the city of Babylon, where they were presented with an ill omen, a child with the legs of a wild beast, which foretold Alexander’s death. According to legend, he was given a poisoned drink at a banquet.
Having bid farewell to his men, who filed past his deathbed, Alexander died shortly afterwards and was buried in a golden sarcophagus, whose whereabouts remain unknown to this day.
Alexander is served a poisoned drink at a feast in Babylon: his death and burial: Royal MS 15 E VI, ff. 22v, 23v
In the battle over Alexander’s succession, his mother Olympias was captured by Cassander, who seized the crown by having Alexander’s son murdered. Olympias was cruelly put to death, denied burial and her body left out to be devoured by dogs and birds, as described and illustrated on the final page of the Alexander legend in this manuscript.
The death of Olympias, with her corpse eaten by dogs: Royal MS 15 E VI, f. 24v
The Talbot Shrewsbury Book can be seen in our Alexander the Great: The Making of a Myth exhibition until 19 February 2023.
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards the exhibition, as well as other trusts and private donors.
Chantry Westwell
Follow us on Twitter at @BLMedieval
13 February 2023
Magic fountains and peacocks
One of the star objects in our current exhibition, Alexander the Great: The Making of a Myth, is perhaps the most famous of all western manuscripts of the French Alexander Romance. Known as Bodley MS 264 from the collections of the Bodleian Libraries in Oxford, this is a large volume, packed with stories and pictures. Particularly famous for its magnificent cycle of illustrations, this manuscript also contains the most complete version of the Roman d’Alexandre, a rich catalogue of Alexander’s adventures on his journeys of conquest and exploration.
In one episode from the Roman d’Alexandre, the Greeks pass through a land with three wondrous springs that, in turn, restore lost youth, confer immortality and bring the dead back to life. Much to his annoyance, Alexander is unable to bathe in the second spring and achieve immortality because Enoch, one of his companions, finds it first. As punishment for using up the spring’s power, Alexander has Enoch imprisoned in a stone pillar until the end of time.
One of nine full-page miniatures of Alexander’s adventures, including the episode of the three magic springs on the lower right(Tournai, Flanders, 1344): The Bodleian Libraries, University of Oxford, Bodley MS 264, f. 67v
In addition to the myriad stories in the Roman d’Alexandre itself, further accounts of Alexander’s exploits, taken from the most diverse sources, are interpolated into the main text of this manuscript, and a sequel added. Here follows a list of the additional material.
Fuerre de Gadres ('The Foray of Gadres')
In this episode, a small troop of Greek soldiers steal cattle to feed the troops besieging Tyre. They are attacked by a superior force and fight valiantly until Alexander rescues them.
Three scenes in Fuerre de Gadres: (1) Alexander sends out his troops; (2) a battle at Tyre; (3) Alexander hears that his men are in trouble: Bodley MS 264, f. 21v
Prise de Defur ('The Capture of Defur')
In this chivalric exploit, Alexander answers a call for help by the knight, Gratien. He slays the evil Duke of Melcis and captures his city of Defur.
In the Prise de Defur, Alexander meets Gratien, before he defeating the Duke of Melcis in a tournament: Bodley MS 264, f. 101v
Voeux du paon ('The Vows of the Peacock')
A series of vows are taken over a peacock that is served at a banquet attended by Alexander. Nine knights vow to perform deeds of valour, and three maidens vow to find husbands of Alexander’s choice. The deeds are accomplished and the story ends with a celebration of the marriages.
Alexander at the banquet in the Voeux du Paon: Bodley MS 264, f. 163v
Le Restor du Paon
A continuation of the Voeux du Paon legend, in which a further vow to re-make the peacock in gold is taken, and a debate is held on the merits of the vows.
Two knights and two maidens with the golden peacock: Bodley MS 264, f. 182r
Voyage au Paradis terrestre ('The Journey to Paradise')
This episode is on display in our exhibition. Alexander journeys to the gates of Paradise but is forbidden entry despite his show of strength.
Alexander’s men at the gates of Paradise: Bodley MS 264, f. 186r
Vengeance Alexandre ('The Avenging of Alexander')
In this sequel to the Romance, Alexander’s son Alior plots his revenge on those responsible for his father’s death. Alior and Candace, his mother, destroy the supporters of the treacherous Antipater (who had poisoned Alexander) and his son.
Alexander’s family and companions plan their revenge after his death: Bodley MS 264, f. 196v
Also transmitted in Bodley MS 264 is a unique extract from the poem known as Alexander and Dindimus, and a copy of Marco Polo’s Voyages.
Alexander and Didymus
A fragmentary alliterative poem in Middle English consisting of five letters between Alexander and Dindimus, King of the Gymnophysists, in which they discuss their ways of life. Alexander's excessive pride in worldly deeds is shown to be misguided.
Alexander and Didymus, seated naked in caves, discuss philosophy: Bodley MS 264, f. 211r
Marco Polo, Voyages
Marco Polo in the land of the Great Khan: Bodley MS 264, f. 218r
Don’t miss this fascinating manuscript in Alexander the Great: The Making of a Myth, on display at the British Library until 19 February 2023.
We are indebted to the Kusuma Trust, the Patricia G. and Jonathan S. England – British Library Innovation Fund and Ubisoft for their support towards the exhibition, as well as other trusts and private donors.
Chantry Westwell
Follow us on Twitter at @BLMedieval
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