07 November 2024
Requesting a raise: the petition of Joan Astley
At a time when women’s work was often undervalued, one woman petitioned for a raise in her salary. Her name was Joan Astley and she was nurse to Henry VI (r. 1422-1461, 1470-1471), who became King of England at only eight months old. She made her petition to the king and his council on 14 January 1424, when Henry had just turned two, asking for her annual salary to be doubled from £20 to £40, equivalent to around £35,000 in modern currency. The petition, written in Middle French, now survives on a single leaf in the British Library’s collections (Stowe Ch 643), and is currently on display in our exhibition, Medieval Women: In Their Own Words.
The petition of Joan Astley to Henry VI, asking for a pay increase; 14 January 1424: Stowe Ch 643
Joan came from a well-connected family. Her father, Sir Thomas Gresley (d. 1455) was a Lancastrian nobleman and landowner in Derbyshire who had fought in recent military campaigns in France. Meanwhile, her husband, Sir Thomas Astley (d. by 1432) was a relative of Richard Beauchamp (d. 1439), Earl of Warwick, a figure at the very heart of the English government. Upon her appointment in 1422, Joan entered a household that was principally based at Windsor and almost wholly composed of women. It included two additional nurses, Elizabeth Ryman and Matilda Fosbroke, a chamberwoman by the name of Agnes Jakeman, a laundress named Margaret Brotherman and at least two other female attendants.
As the king’s nurse, Joan had an essential role to play. The high infant mortality rate during the period meant that, even with the wealth and privilege that befitted his status, the king needed to receive the best care if he was to survive to adulthood. Joan would have been expected not only to breastfeed the young Henry, but also take responsibility for his general health and well-being, his daily life, and his education in his formative years.
A mother chooses a potential wet nurse, from Aldobrandino of Siena’s Regime du Corps: Sloane MS 2435, f. 28v
Joan’s role was even more significant considering the sudden death of Henry VI’s father, Henry V (r. 1413-1422), in 1422. Henry VI was the sole surviving heir from his father’s marriage to the French princess Catherine of Valois (d. 1437). When the infant king ascended to the throne, England had to be ruled by a regency council until he came of age. If Joan had failed in her care and Henry had not survived into adolescence, the whole country could have been plunged into a major succession crisis.
The birth of Henry VI, showing Catherine of Valois with her nurses and attendants, from the ‘Pageants of Richard Beauchamp’: Cotton MS Julius E IV/3, f. 22v
When Joan submitted her petition to the king and his council in January 1424, the two-year-old king was too young to answer her request. Yet the council evidently felt that Joan had done her job well because an inscription on the back of the document indicates that the increase in her salary was not only granted but given to her for life, a fact corroborated by the pipe rolls (a collection of financial records maintained by the English Exchequer). The same year, the composition of the royal household began to change. In April 1424, a governess called Alice Butler was appointed to teach Henry courtesy, manners and discipline. A few years later, at the age of seven, the young king had all but transitioned away from the community of women who had looked after him, spending most of his time under the care of the Earl of Warwick and with other boys from noble and royal families. He no longer had any need for a nurse and Joan’s time in the household ended altogether.
However, this was not the end of her story. After her husband died in the early 1430s, Joan remained in the king’s favour. Further grants and annuities were awarded to her in the following years, probably as a reward for her service. Most notably in 1446, she was one of three founders given a royal license to establish a fraternity and chantry for St Botolph’s without Aldersgate, a parish church in the Smithfield area of London. Joan lived nearby, one of a number of widows who rented properties within the lands owned by St Bartholomew’s Hospital during this period. A rental for the hospital, compiled in 1456 by Brother John Cok (and now known as SBHB/HC/2/1) lists her as the resident of a tenement above the Smithfield Gate and tenant of a small garden in the vicinity. She probably remained there until her death (sometime after 1463), when she was said to have been buried in St Botolph’s Church. Though Joan’s home no longer exists, in 1907 a plaque was installed to commemorate the site, serving as the foundation stone for a new building in the complex of the hospital.
A plaque marking the site of Joan Astley’s home in the grounds of St Bartholomew’s Hospital
You can see the petition of Joan Astley in person by visiting our major exhibition Medieval Women: In Their Own Words, which runs from 25 October 2024 until 2 March 2025, at St Pancras in London. Tickets are available to order 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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05 November 2024
Birgitta's marvellous marginalia
A monumental manuscript is on display in our Medieval Women exhibition. Harley MS 612 measures 54.5 x 38 cm, weighs over 15kg, and usually requires at least two British Library staff members to place it back onto its shelf. It is a compilation of Latin material by and about Birgitta of Sweden (d. 1373), copied in the mid-15th century for the Birgittine brothers of Syon Abbey. With its gorgeous, illuminated initials, wide margins, and elegant script full of decorative flourishes—courtesy of Thomas Colyngbourn, the manuscript’s scribe—one can easily imagine the awe of the Syon brothers on seeing it lying open on a lectern to be read aloud during the evening meal.
A monumental copy of the works of Birgitta of Sweden, made for the brothers of Syon Abbey: Harley MS 612, ff. 164v-165r
The text begins with a Latin translation of Birgitta’s Revelations, her visions and teachings originally written down in Swedish, but Birgitta’s voice peters out over the course of the manuscript. Considerable space is devoted to defences of Birgitta by male ecclesiastical authorities, posthumous accounts of her miracles, and even lives of other saints. As you move through the volume, it becomes more of a ‘Birgittine book’ than it is ‘Birgitta’s book’: less a document of the Swedish saint’s mysticism, and more of a grand testament to the cementing of her cult in England—and to the wealth of the community whose order bore her name.
So, amid all this institutional grandeur, what’s this doodle doing in the margins?
A marginal figure marking an addition to the text: Harley MS 612, f. 118r
Or what about this cheeky little face that peers out from the letter ‘h’ in the Latin word ‘humiliter’?
Peekaboo: Harley MS 612, f. 138r
The manuscript is full of these surprises. Marginal images are dotted throughout—some glossing the text, some marking additions, and some of them seemingly just for fun. Where they came from is something of a mystery. The volume’s exemplar (the model from which it was copied) has not been identified, so we can’t tell whether the scribe was copying them out from a manuscript sitting open in front of him, or making them up as he went along. Some patterns of marginal images seem to suggest the scribe was working with a planned programme in mind, such as the concentration of images on ff. 78v-82v, all illustrating bits of text next to which they appear. They include a trussed-up corpse head with a banderole warning about the spiritual death of worldly souls:
‘For just as they died a bodily death’ (Sicut enim illi morte corporali moriebantur): Harley MS 612, f. 78v
… and this yapping creature, a fox in a shell, seemingly representing the ‘serpent-born’, devil-suckled beast described in the text as seeking to supplant its superiors:
‘Tending towards treasons’ (proditiones tendere): Harley MS 612, f. 80v
But other marginal images seem less integral to the manuscript’s design. Instead, they are like little Easter eggs, visual treats tucked into the pages to delight any reader willing to look closely enough. This tiny critter, buried in the gutter, playfully glosses the Virgin Mary’s words to Birgitta about bad bishops being as flashy and insubstantial as butterflies:
A butterfly buried in the gutter: Harley MS 612, f. 32v
On another page, what at first looks like a simple doodle to prop up an overflowing line reveals itself as a clever illustration of the accompanying text, in which Mary tells Birgitta that Christ is like a poor peasant carrying around brushwood:
A wooden support illustrating an overflowing line of text: Harley MS 612, f. 50r
My own favourite marginal images play with the manuscript’s physical dimensions, creating trompe-l’œil effects that turn the two-dimensional page into a playground of light, shadow, and depth. You feel as though you could almost step into this tiny door, which represents Christ’s promise to protect all those who enter the Bridgettine order from their enemies:
Knock, and it shall be opened unto you (Qui in eam intraverunt): Harley MS 612, f. 164v
Then there’s this addition suspended on a ‘rope’, which, when you turn the page, appears to be driven through the folio and attached on the other side. The scribe was clearly enjoying himself here.
A real page-turner: Harley MS 612, ff. 232r-v
Since this manuscript is on display in our Medieval Women exhibition, however, I would be remiss if I didn’t end this tour of the manuscript’s marginalia with what appears to be its only image of Birgitta herself, a small portrait peeking out between two columns of text.
After all, even though this image appears alongside a male bishop’s words, defending and ‘authorising’ Birgitta’s sanctity, it’s the rich, strange, dizzying images of the divine in Birgitta’s own Revelations that must have inspired the scribe to create his gallery of wonders in the margins. However demure she looks in this portrait, Birgitta was a woman of remarkable force and intellect—just one of many whose stories are represented in our Medieval Women exhibition.
Holy Birgitta, pray for us: Harley MS 612, f. 207v
Medieval Women: In Their Own Words is on show at the British Library from 25 October 2024 to 2 March 2025. You can purchase 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.
Rowan Wilson
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31 October 2024
Medieval witches
While we were developing our exhibition Medieval Women: In Their Own Words, the most common question we were asked was, “Will you be including witches?” Although many people think of the Middle Ages as a time when women were widely persecuted as witches, in fact witchcraft trials were rare before 1500. The European “witch craze” only reached its peak in the early modern period, during the late 16th and 17th centuries. Still, the late Middle Ages was the time when many myths about witchcraft first developed. We always aim to please, so this Halloween we’re pleased to announce: yes, we’re including witches!
In 1486, notorious inquisitor Heinrich Kramer published a book called Malleus Malificarum (Hammer of Witches). This guide to identifying and prosecuting witches codified many ideas about witchcraft that became influential in later witch trials: that witches are predominantly women, that they enter pacts with demons, that they use magic to cause impotence, crop failure, disease and death of livestock and people. Yet the Malleus Malificarum was the culmination of a development that took place throughout the 14th and 15th centuries, when several strands of thought about magic, spirituality and women came together into one disastrous stereotype. In this blogpost, we explore these various strands as well as the stories of some of the earliest accused witches.
Midwives and herbalists
From the earliest times, women were important healthcare providers. In the absence of any formal healthcare system, informal networks of female practitioners provided medical cures and assisted women during pregnancy and childbirth. Methods of treatment ranged from blood-letting to herbal remedies to magical charms. Sometimes they would use their skills for non-medical purposes, such as supplying love charms, finding lost objects and predicting the future.
The male medical elite looked down on female practitioners. The English surgeon and medical writer John Arderne (d. c. 1377), for example, wrote dismissively of “þe medycinez of ladiez” (the medicines of ladies), which, he said, made patients worse. We can see how the woman healer whose practices spanned the medical and the occult became a figure of distrust and derision in John Lydgate’s The Pilgrimage of Man. In this moralising verse account of an allegorical journey, the pilgrim “everyman” meets an old hag who, it turns out, is the personification of sorcery. This unpleasant character is peddling inscriptions, images, ointments, herbs and astrological readings, which she uses for malicious ends. The pilgrim asks her, “Tell on without more tarrying, where learnest thou all thy cunning?” She replies, “Soothly as I rehearse can, I learned my cunning off Satan”.
Sorceresses and the devil
In the Middle Ages witchcraft was not a secular crime, but from the 14th century it came to be regarded as a form of heresy making it punishable by the Church. The heresy trials of the Order of the Knights Templar beginning in 1307, designed by Philip IV of France as a means to destroy the powerful order, included trumped-up accusations of sorcery, devil worship and performing sexual acts with demons. Many Templars confessed under torture, the order was disbanded and the leaders burned at the stake. These trials set an important precedent for establishing sorcery as evidence of heresy and paved the way for the persecution of women associated with magic.
In 1324, perhaps inspired by the trials of the Templars, one of the earliest known witchcraft trials in Europe took place. The accused was Alice Kyteler of Kilkenny in Ireland, whose three wealthy husbands had all died mysteriously leaving her with a great fortune. Richard Ledred, bishop of Ossory, pursued the case after Alice’s stepchildren accused her of using sorcery to infatuate and kill her husbands. Seven lurid charges were made against her, including that Alice summoned demons, brewed potions and had a sexual relationship with a demon incubus named Robin Artisson. Alice fled to England and evaded punishment, but her maidservant Petronella of Meath was tortured and burned at the stake as an accomplice.
Visionaries and demons
The association between women and supernatural influences was also informed by their prominent role as spiritual visionaries in medieval religious culture. It was believed that visionaries were able to witness glimpses of the supernatural world and communicate with spiritual beings such as God, saints or angels to gain hidden knowledge. While visionaries could be male or female, women were particularly attracted to the visionary path as it was one of the few ways that they could claim individual religious authority. Some female visionaries recorded their experiences and created important works of religious literature, including Hildegard of Bingen, Bridget of Sweden, Catherine of Siena and Julian of Norwich.
Yet a career as a female visionary could be risky. Many churchmen were concerned that holy women might be receiving visions not from God but from the Devil. They considered that women were particularly susceptible to supernatural influences, including those of a more malevolent nature. As Heinrich Kramer explained in the Malleus Malificarum:
“Women are naturally more impressionable, and more ready to receive the influence of a disembodied spirit; [...] when they use this quality well they are very good, but when they use it ill they are very evil” (translation by M. Summers, 1971).
Church authorities developed elaborate systems to determine whether a reported vision was truly from God. Those whose visions were deemed to be from the Devil, especially those who gained power and knowledge from him, could be accused of witchcraft and heresy.
One of the most famous visionary women to be accused of witchcraft was Joan of Arc. During the Hundred Years War between England and France, the illiterate peasant girl received visions of saints and angels who told her to help the Dauphin Charles accede to the throne of France. She became the hero of the French army at the siege of Orleans, before being captured by the Burgundian-English alliance and tried for heresy. During the trial, the inquisitors accused her of visiting a “fairy tree” near her village of Domrémy, where she supposedly danced and adored the fairies. They concluded that Joan’s visions were not of saints but of evil spirits, such as Belial, Satan and Behemoth. She was found guilty and burned at the stake in 1431.
The English were particularly keen to remember Joan as a witch. The Brut chronicle, one of the most popular accounts of English history in the medieval and early modern periods, refers to Joan as “the wicche of Fraunce” (the witch of France), and claims that “By her crafte of sorserie alle the Frensshe men and her compeny trystid for to haue ouyrcome alle the Engelisshe pepull” (By her craft of sorcery, all the French men and her company trusted that they would overcome all the English people).
Political witches
Political motivations also underlie many of the other high profile witchcraft accusations of the period. Perhaps the biggest witchcraft scandal in medieval England centred on Eleanor Cobham (d. 1452), Duchess of Gloucester. Eleanor rose from a position in the lower gentry to become one of the most powerful women in England as the mistress and then wife of Humfrey, Duke of Gloucester. Humfrey was the uncle and heir of King Henry VI of England, meaning that he and Eleanor could have become king and queen if Henry had died young.
Eleanor fell victim to court politics in 1441 when she was accused of encouraging a group of scholars to make horoscopes predicting the untimely death of the king, and employing a woman named Margery Jourdemain, “the Witch of Eye”, to perform sorcery for her. At her trial, Eleanor denied plotting against the king, although she did admit to buying fertility remedies from Margery Jourdemain to help her to conceive a child with Humfrey. Both Eleanor and Margery were found guilty of heresy. Eleanor was made to perform humiliating public penance, divorce Humfrey and spend the rest of her life in imprisonment. Margery, who had been in trouble with the authorities for witchcraft before, was burned at the stake as a relapsed heretic.
Eleanor Cobham was not the only woman connected with the English royal family who was accused of witchcraft in the 15th century. Earlier in the century, Joan of Navarre (d. 1437), widow of King Henry IV of England, was accused of witchcraft as a thin excuse to confiscate her money and lands to help pay for Henry V’s war with France. Later, the Titulus Regius of 1484 justified Richard III seizing the throne of England from his young nephew by claiming that the marriage of Edward IV and Elizabeth Woodville came about through “Sorcerie and Wichecrafte, committed by the said Elizabeth, and her Moder” (sorcery and witchcraft committed by the said Elizabeth and her mother).
These accusations show the great fear directed at women who were active in English politics, particularly those who challenged the status quo by marrying into the royal family for love rather than diplomacy, and — in the case of Eleanor Cobham and Elizabeth Woodville — climbing the social ladder from relatively obscure backgrounds. In each of these examples, including Alice Kyteler and Joan of Arc, accusations of witchcraft proved to be a convenient tactic for discrediting an ambitious and influential woman in a way that was impossible for her to disprove.
Women healers, visionaries, heretics and accused witches all feature in our Medieval Women exhibition. You can encounter unique historical manuscripts relating to Joan of Arc, Eleanor Cobham and Elizabeth Woodville, and you can even have a go at our digital interactive “Are You a Witch?”, based on criteria from the Malleus Malificarum.
Medieval Women: In Their Own Words is on show at the British Library from 25 October 2024 to 2 March 2025. You can book your tickets online.
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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25 October 2024
Medieval Women well and truly open
Fanfare, please! We are thrilled to say that the British Library's major new exhibition, Medieval Women: In Their Own Words, is now open to the public. The first ticket-holders are starting to go through the doors, and we hope thousands more will follow them in the coming months.
It's about time, we think, that medieval women took the spotlight. Margery Kempe (died in 1438) wrote the first autobiography in the English language. Her contemporary, Joan of Arc (burned in 1431), led armies to victory in a male-dominated world. Marta, an enslaved Russian woman, was sold in the marketplace in Venice in 1450. Shajar al-Durr (died in 1257) was the first woman to rule in Mamluk Egypt. Margery Brews wrote the first Valentine letter in 1477. Sibylle of Flanders (died in 1163) refused to return home with her husband from Jerusalem. Margaret of Anjou (died in 1482) owned a pet Barbary lion. Gwerful Mechain (lived in the late 1400s) wrote explicit poetry. Joan Astley asked Henry VI for a pay rise in 1423/4. Margaret, Maid of Norway (died in 1290), aged just seven, was to be betrothed to an English prince. Estellina Conat was the first woman to print a book in Hebrew, in 1474. Margaret Starre took part in the Peasants' Revolt in 1381. Joan of Beverley embroidered an altar band in the 14th century.
Our exhibition features an incredible range of manuscripts, documents and early printed books from the Library's collections, alongside some amazing loans from other institutions. Medieval Women is the culmination of many months' hard work behind the scenes, by colleagues in our Exhibitions, Loans, Conservation, Marketing, Press, Publishing, Events, Learning, Commercial and Visitor Services teams — not to mention the curators (Ellie, Julian, Calum) and our other colleagues. We hope you have the chance to visit our exhibition in person, to attend one of the events, or to buy the book. We like to think that the medieval women whose stories we tell would have been delighted to make your acquaintance.
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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03 October 2024
Our first 1000 digitised manuscripts return
Following the cyber-attack on the British Library last year, staff have been working behind the scenes to restore access to the Library’s digitised manuscripts. The Library has now made an initial batch of 1,000 digitised items available online, of which over 600 are ancient, medieval and early modern manuscripts.
A full list of the items, with links to their digitised images and summary catalogue information, can be consulted on the British Library website. Improvements to the discoverability of the manuscripts will be made in due course.
The page for Easter Sunday in the Sherborne Missal: Add MS 74236, p. 216
A highlight is the Sherborne Missal (Add MS 74236), a service book containing all the texts required for celebrating Mass on the different feasts, holidays and saints’ days throughout the year. Made for the Benedictine abbey of St Mary in Sherborne, Dorset, the manuscript has been called one of the masterpieces of 15th-century English illumination, with decoration on nearly all of its 694 pages. You can read more about the manuscript in our previous blogpost and listen to a guided tour and discussion of the page for Easter Sunday as part of the BBC’s Moving Picture Series.
A phoenix rising from the ashes, from an illuminated Bestiary: Harley MS 4751, f. 65r
The selection also includes all 400 manuscripts digitised as part of The Polonsky Foundation England and France Project, a ground-breaking collaborative project between the British Library and the Bibliothèque nationale de France. The manuscripts, made in England and France between the years 700 to 1200, comprise a wide range of texts and topics, including biblical, liturgical and theological works, science, music and medicine, Classical and contemporary literature and works on history and law. Among them are a lavishly-illuminated Bestiary (Harley MS 4751), with illustrated accounts of birds, beasts and fantastical creatures, and the Eadui Psalter (Arundel MS 155), a copy of the Book of Psalms, written by a scribe called Eadui Basan at Christ Church, Canterbury in the early 11th century, with a partial gloss in Old English.
The Beatus page of the Eadui Psalter, showing the opening of Psalm 1: Arundel MS 155, f. 12r
There are also a number of manuscripts containing significant works of Middle English literature. They include the ‘Amherst Manuscript’ (Add MS 37790), a Carthusian anthology of theological material containing the only surviving medieval copy of the Short Text of The Revelations of Divine Love by the anchoress Julian of Norwich. This work is an account of the 16 mystical visions Julian experienced in her early 30s, and the earliest surviving example of a book in the English language known to have been written by a woman.
The Short Text of Julian of Norwich’s Revelations of Divine Love: Add MS 37790, f. 98v
As further digitised manuscripts become available online, we will post updates about them on the Medieval Manuscripts blog. Browse a list of all currently available digitised manuscripts here.
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25 September 2024
Medieval Women: 1 Month to Go!
There’s only one month to go before our major exhibition Medieval Women: In Their Own Words opens. Running from 25 October 2024 to 2 March 2025, this exhibition tells the history of medieval women through their own words and uncovers their lives through manuscripts, documents and precious artefacts. Tickets for the exhibition are already on sale!
As opening day approaches, we thought we would reveal a few more of the incredible items that are going to be on display.
The Psalter of Melisende, Queen of Jerusalem
The Presentation in the Temple, from the ‘Melisende Psalter’; Jerusalem, 1131–43: Egerton MS 1139, f. 3r
From Margaret of Anjou to Empress Matilda, you will hear the stories of many medieval queens, their lives, words and achievements in the course of the exhibition. They include Melisende (d. 1161), ruler of the Crusader state of Jerusalem in the mid-12th-century. Jointly reigning with her husband, Fulk of Anjou, and then her son Baldwin III, Melisende was responsible for much of the kingdom’s day-to-day governance. She was also a renowned patron of the Church and the arts, founding schools devoted to bookmaking and miniature painting. A precious survival from her reign is her Psalter (Book of Psalms), a personal prayer-book that was probably commissioned for her and features exquisite illuminations and writing in gold.
Birth Girdle
Medieval birth girdle, featuring the Three Nails from the Crucifixion, illustrations of Christ’s Side Wound, and other textual and image-based talismans; England, 15th century: Harley Roll T 11
A life-size representation of Christ’s Side Wound, from a medieval English birth girdle: Harley Roll T 11
Among the exhibits devoted to the subject of women’s health is one of only nine surviving medieval English birth girdles. These parchment waist belts were produced commercially as amulets, offering protection against a number of different hazards and ailments, but particularly childbirth. This 15th-century birth girdle is covered with a variety of prayers, charms and other textual and illustrative talismans, including an image of the three nails used during the Crucifixion and a life-sized representation (‘measure’) of Christ’s side-wound.
Hildegard of Bingen’s Ordo Virtutum
Hildegard of Bingen’s proto-opera, Ordo virtutum (‘Play of the Virtues’); Sponheim, 1487: Add MS 15102, f. 219v
The exhibition will also introduce a number of women who embraced a spiritual calling and found purpose as part of religious communities. A foremost example is Hildegard of Bingen (d. 1179). Sent to live in the Benedictine nunnery of Disibodenberg in Germany when she was 8 years old, Hildegard later founded and became abbess of the nunnery of Rupertsberg. In the course of her life, Hildegard had many achievements and roles. She was a polymath, a visionary and prophet, who went on multiple extended preaching tours, even in her 60s and 70s; she was also an author, a prolific letter-writer, and the beloved leader of her religious community. One of her many compositions is a musical play, or proto-opera, the Ordo virtutum (Play of the Virtues), which tells the story of the struggle for a human soul between personifications of the virtues and the Devil, and was intended to be sung by nuns.
The Luttrell Psalter
Female labourers bringing in the harvest and reaping barley with sickles, from the ‘Luttrell Psalter’; Lincolnshire, 1325–40: Add MS 42130, f. 172v
The exhibition will also highlight the variety of working roles women played at all levels of medieval society, from rural communities to royal courts. The Luttrell Psalter is one of the masterpieces of medieval English art, an illuminated copy of the Book of Psalms commissioned by the landowner Sir Geoffrey Luttrell (d. 1345), lord of Irnham in Lincolnshire. Its marginal illustrations are known for their fantastical menagerie of hybrid creatures and grotesques, but they also include depictions of arable farming and labourers, artisans, and craftspeople at work, many featuring women prominently. On this page, three female farmworkers reap and gather barley with sickles. In the background, one of the labourers stands and stretches to ease her aching back, her sickle balanced on her shoulder.
The Lais and Fables of Marie de France
An opening from Marie’s ‘Bisclavret’, the story of a werewolf trapped in lupine form, from a collection of her Fables and Lais; England, 13th century: Harley MS 978, ff. 66v–67r.
Alongside Christine de Pizan’s ‘Book of the Queen’ and The Book of Margery Kempe, one of the exhibition’s most important literary manuscripts contains the work of Marie de France (active around the 1180s), one of the first recorded female authors in Europe. Few details of Marie’s identity are now known to us, though she was probably based in England, since she wrote in Anglo-Norman, a dialect of French spoken by the ruling class in England after the Norman Conquest. This manuscript is the only medieval copy to record all twelve of Marie’s Lais, a set of narrative poems notable for their celebration of courtly love, and featuring such memorable characters as the werewolf Bisclavret, the abandoned girl Le Fresne, and the knights Milun, Guigemar and Lanval.
Marie ai nun, si sui de France (Marie is my name and I am from France): Marie naming herself at the end of the lai ‘Bisclavret’; Harley MS 978, f. 67r
Medieval Women: In Their Own Words is on show 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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18 July 2024
Tickets go on sale for Medieval Women exhibition
Tickets are now on sale for the British Library’s major exhibition Medieval Women: In Their Own Words, which runs from 25 October 2024 to 2 March 2025.
From the courage of Joan of Arc at her trial for heresy, and the visionary experiences of Julian of Norwich, to the artistry of the London silkwoman Alice Claver, the work of female medical practitioners, and the struggles of female rulers like Queen Melisende of Jerusalem, this exhibition explores 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.
To whet your appetite before the exhibition opens in October, here are a few of the incredible items that will be on display:
The Book of Margery Kempe
The opening of the only surviving manuscript of The Book of Margery Kempe; Norfolk, c. 1445–1450: Add MS 61823, f. 1r
The earliest autobiography written in English, The Book of Margery Kempe is an extraordinary account of the experiences of a female mystic, her spiritual visions, pilgrimages to Rome, Jerusalem and Santiago de Compostela, and her struggles for recognition in a male-dominated religious world. Margery’s Book was lost for centuries until this copy was discovered in a country house in 1934.
Christine de Pizan’s ‘Book of the Queen’
Christine de Pizan building the ‘City of Ladies’, from ‘The Book of the Queen’; Paris, c. 1410-1414: Harley MS 4431/2, f. 290r
The ‘Book of the Queen’ is the largest and most splendid manuscript of the works of Christine de Pizan, made for Isabeau of Bavaria (d. 1435), queen of France. Christine is often described as the first professional woman author in medieval Europe. Her Book of the City of Ladies recounts tales of exemplary historical, legendary and biblical women, building a metaphorical ‘city’ out of women’s achievements.
The Paston Letters
Letter from Margaret Paston to John Paston I, asking him to send her a new girdle and cloth for a gown; Norfolk, December 1441: Add MS 43490, f. 34r
The Pastons were a Norfolk family who climbed the social ladder from peasantry to landed gentry during the 15th century. They left behind a cache of around a thousand personal letters, giving unparalleled insight into their everyday lives. The women of the family are some of the most prolific correspondents, recording their joys, sorrows, loves, rivalries, friendships and arguments that span several generations.
The Sekenesse of Wymmen
Anatomical drawings featured in a section on childbirth, from The Sekenesse of Wymmen; England, 15th century: Sloane MS 2463, f. 17v
One of a number of items in the exhibition devoted to women’s health, this manuscript contains the Sekenesse of Wymmen, a widel- read gynaecological treatise. It features instructions to a midwife on how to assist a mother during complications in childbirth, with accompanying anatomical drawings showing the position of the baby in the womb.
The Foundation Charter of Bordesley Abbey
The foundation charter of Bordesley Abbey by Empress Matilda; Devizes, 1141–1142: Add Ch 75724
The foundation charter of Bordesley Abbey was made in the 1140s, a period of strife in England as a bitter civil war raged between Matilda and Stephen, rival claimants to the throne after the death of Henry I. This document styles Matilda as ‘Empress’ and ‘Lady of the English’ and features her seal, showing her crowned and holding a sceptre, enclosed within a distinctive silk seal bag.
The seal of Matilda: Devizes, 1141-1142: Add Ch 75724
Medieval Women: In Their Own Words is on show 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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27 October 2023
Garendon cartulary acquired by the British Library
We are pleased to announce that the British Library has acquired a 15th-century cartulary from Garendon Abbey in Leicestershire.
The cartulary of Garendon Abbey, made around 1450, and purchased by the British Library in September 2023
Garendon was founded for Cistercian monks in 1133, and was dissolved by the commissioners of King Henry VIII in 1536. The cartulary was described first by J.G. Nichols, in The History of the County and Antiquities of Leicester (1804), when it was in the hands of the antiquary Craven Ord (d. 1832). It passed eventually into the collection of the bookseller W.A. Foyle (d. 1963), and was sold at the recent auction of the library of his grandson, Christopher Foyle (d. 2022), held at Dominic Winter Auctioneers on 27 September.
The opening page of the Garendon cartulary
The next step is for this cartulary to be assessed and treated by our conservation team, since it has been exposed to damp over the years. As you will see from these photos, many of its pages are creased, and there is some loss of leaves at the very end of the volume. The cartulary will then be digitised before it can be made available in the Library's Manuscripts Reading Room at St Pancras. We will make a separate announcement when it can be consulted by readers in person.
The cartulary of Garendon Abbey
The British Library already holds an earlier cartulary from Garendon Abbey (Lansdowne MS 415), compiled at various stages from the late 1100s onwards. The Garendon cartulary also complements other monastic records acquired by the Library in recent years, including the cartulary of Otterton Priory (Add MS 81278), the rental of Worcester Cathedral Priory (Add MS 89137), the Burton cartulary (Add MS 89169), and two cartularies from Lacock Abbey (Add MS 88973. Add MS 88974).
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