Medieval manuscripts are written by hand; in Western Europe, they are usually written on the prepared skins of cows, goats, or sheep. Earlier Romans like the Egyptians used papyrus. First, manuscripts were rolled and are referred to as scrolls. Later, most Medieval manuscripts were produced on roughly rectangular pieces of prepared animal skins that were then stacked and bound on one side, much like the familiar printed book. This kind of binding is referred to as a codex.
By the first century BC there existed at Rome notebooks made of leaves of parchment, used for rough copy, first drafts, and notes. By the first century AD such manuals were used for commercial copies of classical literature. The Christians adopted this parchment manual format for the Scriptures used in their liturgy because a codex is easier to handle than a scroll and because one can write on both sides of a parchment but on only one side of a papyrus scroll. By the early second century all Scripture was reproduced in codex form. In traditional Christian iconography, therefore, the Hebrew prophets are represented holding scrolls and the Evangelists holding codices (AHDs.v. codex).
Manuscripts may be subdivided into various classes or kinds. There are illuminated manuscripts, carefully illustrated with drawings and colored ink embellishments, including gold leaf. There are large, ornate display Gospels, containing the first four books of the New Testament like The Book of Lindisfarne and The Books of Kells. There are also elaborate personal prayer books known as Books of Hours, and many other kinds of manuscripts.
He’s wearing expensive clothing, indicated in particular by the fur trimming on his hat and overcoat, as well as the visible purse he wears.
The gentleman is standing in front of a substantial fireplace, with his back to the fire, and his is lifting the hem of his overcoat to warm his backside; a more delicate version of a similar scene from the Très Riches Heures calendar page for February.
There’s a wooden settle in front of him, set before a table with a meal waiting. In the background is a bed with burgundy cover and curtains. In the front of the scene to the viewer’s left, a servant is entering, carrying two flagons which the Morgan library identifies as wine flagons; I can’t help but be reminded of the astrological symbol for January, Aquarius, the water-bearer.
The next vignette shows someone bringing in wood, while the central image features the master of the house at table, his back to the ample fireplace, dining, while the lady of the house sits on a low bench next to the hearth, warming her hands.
The border on the left shows images for the Feast of the Circumcision (on January 1). The medallion in the center of the bottom border contains the zodiac sign of Aquarius, the water-bearer.
January: Feasting and Keeping Warm (fol. 1)
Calendars in Books of Hours do not demarcate time by enumerating the days from the first to the last of the month, as seen in this January page, but, rather list the important liturgical feasts of the month.
Inside, the lord of the house sits at his meal, his back to the hearth,as his wife, closer to the fire, warms her hands.
While a heavy snow covers the land, a laborer carries a few logs from the woodpile into the manor.
When Calendars in Horea (Latin for “Hours”) were illustrated, they followed a tradition of depicting two vignettes in each month: the sign of the zodiac and the activity, usually agrarian, commonly undertaken during the season.
The borders illustrate some of January’s major feasts, including, at top left, the Circumcision (feast on January 1). At bottom center is the zodiacal sign Aquarius, the Water Carrier.
This year’s symposium explores the connections between historic and current approaches to data linkage in regard to manuscripts and manuscript research. Hooking Up addresses the topic from a variety of angles and considers how the manuscript book operates as a vehicle for information retrieval and dissemination from the technology of the page and the textual apparatus of a book, to the library, and finally, the internet. We will also consider such questions as how medieval practices of memory shaped information retrieval and gathering, how did the technology of the manuscripts book—in all its many forms—facilitate or hinder information processing, how can medieval solutions inform modern technologies, and how do modern technologies illuminate medieval practices? The program will also feature sessions highlighting projects that are advancing linked data technologies for manuscript researchers.
A family in Cornwall with Irish connections discovered an early printed book printed in London in 1534/1536 that had been owned by the family the sixteenth century. The small pocket-sized book is Latin manual regarding administration. At some point in the past a 15th century Irish manuscript on parchment was cut up, and a section was used to reinforce the binding of the printed book, a fairly common practice as bookbinders recycled medieval manuscripts.
Pádraig Ó Macháin, a University College Cork (UCC) Professor of Modern Irish was alerted to the existence of the MS. fragment and contacted the owner. Professor Ó Macháin is one of the founders of Irish Scripts On Screen (ISOS), a digital repository of manuscript images. He could determine from photographs that Irish text was an extract from a medical text. In August of 2018 John Gillis of TCD was given permission to carefully remove the manuscript fragment from the book’s binding, and digitize it for ISOS.
With the help of Professor Aoibheann Nic Dhonnchadha of the Dublin Institute for Advanced Studies, a specialist in the study of Medieval Irish medical texts, the Irish text was identified as a translation of a section of The Canon of Medicine, sometimes called The Canon of Avicenna by Persian physician Ibn Sena (980–1037), better known as Avicenna. The Canon is a Medieval medical encyclopedia, a core text for Medieval physicians. The fragment is from Book 1 of The Canon of Avicenna translated into Irish (with some scribal departures) from the Latin translation of Gerard of Cremona (d. 1187). The sections of
This is the first known early Irish translation of Avicenna’s Canon of Medicine. The status (or existence) of the rest of the manuscript that the parchment was taken from is unknown; I can’t help but wonder if additional fragments of the MS. were used to reinforce other books.
Seven fragments of parchment written in Old French have been discovered inside an unrelated 15th century work, in the archives of the Bristol Central Library in the UK. The fragments seem to be from a version of the Estoire de Merlin, one that is slightly different from the standard text. The fragments are from a section about the Battle of Trèbes, and include Merlin addressing Arthur’s troops with a stirring speech and, oddly, leading the attack carrying Sir Kay’s dragon standard, which includes a dragon that breathes actual fire.
We often think of December as the entry to winter and to Christmas. In the middle ages, typically, winter featured much more dramatically than Christmas. The calendar pages in Books of Hours showing the labors of December most often feature an image of hog butchering, a boar roast, or a boar hunt (sometimes they feature an image of St. John boiling in oil, or the baking of bread) as December labors of the month.
Morgan library MS M.399, f. 13v Belgium, Bruges, ca. 1515; Simon Bening. Image credit: Akademische Druck- u. Verlagsanstalt, Graz/Austria.
This wintery scene is a detail from the December calendar page from the Da Costa Hours (Belgium, Bruges, c. 1515) now in The Morgan Library. (MS M.399, f. 13v). The landscape is snowy, and the people are dressed warmly. In the front, a man is slitting the throat of a boar with a knife, while to his right a woman is catching the blood, “bleeding out” the butchered pig. (Today it’s more common to suspend the the pig head-down; medieval images often show the boar on the ground, or on a low trestle table, or yes, suspended.) Behind the woman catching the blood, another woman stands outside of an inn. The inn has a sign showing a star or perhaps a sun. The windows are lined with three people watching the pig slaughter. In the distance, there’s a man with a team of horses and a wagon. The distant scene looks very cold; there’s some show-through of the art on the reverse of the page.
The boar was an important food source, though largely for the wealthy, especially the domesticated boar. The other popular image for December calendar pages was of the boar hunt. While the head was regarded as a trophy, nothing was wasted, and all was used, from the bristles to the trotters.
Flax is a fiberus plant grown for both the seeds (for food for people and animals) but more importantly, for the fibers, used to make linen. While wool was the most common fabric in the Middle ages in Europe, linen was also used for clothing and household textiles since it made durable light-weight cloth that was particularly suited for warmer weather and undergarments.
Harvesting and processing flax was usually done during June and July, though this isn’t the only November book of hours image to feature flax production. The two men in the fronts are beating flax that has been soaking in water for several days; this process was called retting. After retting the flax is beaten which loosens the fibers from the flax stems. Behind the two men, on the left, a woman inside a shed is using a scutching knife to scutch the flax, that is, remove the outer woody covering from the fibers. She’s sitting, and you can see two bundles of processed flax on the floor next to her. Although it isn’t shown, the next stage of converting flax to linen would be hatching, which meant drawing the flax through tines on a board, combing the long fibers so that they could be spun before being woven into linen.
Behind the shed and the woman scutching is another shed; possibly a threshing barn, since it looks the man standing in the doorway has a raised arm and is holding something, perhaps a flail?
In the center part of the image you can see doves and chickens scratching in the straw just outside what may be the threshing barn, as if the wheat straw and chaff had been discarded by the thresher. Across the way the top of the building is a dovecote, with the ground floor a barn for pigs. In the background, you see other pigs. In the very back in the center of the image is possibly a house with a fire, and figure before the fire warming, as a foreshadowing of winter and the labor of February which often shows someone sitting before a fire and warming themselves.
The Da Costa Hours were illuminated by Simon Bening (1483/84 – 1561); they were produced in Ghent, Belgium c. 1515. This image is strikingly similar to a November bas relief image in the London Rothschild Hours in the British Library (British Library Add MS 35313, f. 6v).1)British Library Add MS 35313 is variously identified as the London Rothschild Hours and the Hours of Joanna I of Castile.
The London Rothschild Hours BL Add MS 35313 f. 6v November calendar image. c. 1500.
The most obvious similarity is in the foreground figure of the two men beating flax; even the positions of the figure and hands on the implements is strikingly similar. Notice that one of the men is now bare-headed. The similarities do not end there; look at the pigs in the barn, the roaming pigs, and the man in the background that appears to be threshing grain with a flail inside a threshing shed. The woman feeding the pigs is unique, but the dovecote above the barn is strikingly similar. Behind the woman feeding the pigs swill from a bucket, to the right is a woman using a scutching knife to scutch flax, again, a similar detail.
Another similar, almost identical scene, is in a breviary; Morgan Library MS M52. The November calendar page has a similar scene at the bottom of F. 7r:
November calendar page Morgan Library M. 52 f.7r. Breviary; Belgium c. 1500
This breviary image shares some details with the London Rothschild hours. The woman feeding the pigs, the barn and tower above the pigs, the clothing of the two men beating the flax, the threshing shed and the man with the flail in the background, are all strikingly similar to the November image in the Rothschild London hours. The woman clothed in green with the scutching knife on the left is strikingly similar to the woman clothed in green using a scutching knife in the Da Costa Hours November image. The hats on the two men beating the flax in the foreground are strikingly similar to the hats on the two men in The Da Costa hours image.
The miniatures in the Hours of the Cross and the Hours of the Virgin and perhaps the Calendar scenes are attributed to the Master of James IV of Scotland and his workshop; the miniatures in the Suffrages and prayers are attributed to the workshop of the Maximilian Master, both active at Ghent.
The Morgan Library breviary from Belgium M.52 has this:
M.52 (“Breviary of Eleanor of Portugal”), in Latin, Franciscan for Rome use (Ordo breviarii, calendar). Flanders, probably Ghent or Bruges, ca. 1500–1510, illuminated by the Master of the Older Prayerbook of Maximilian (Alexander Bening?) (A) and the Master of James IV of Scotland (Gerard Horenbout ?)
Ms. book of hours for indeterminate use (Hours of the Virgin) and the use of Rome (Office of the Dead); written and illuminated in Ghent, Belgium, ca. 1515.
Decoration: 75 full-page miniatures (including 12 calendar illustrations), 15 small miniatures, 12 historiated borders with zodiacal signs.
Artist: Simon Bening and workshop.
The British Library’s London Rothschild Hours and the Morgan Library’s breviary share two artists;the Master of James IV of Scotland and the Master of the Older Prayerbook of Maximilian. The Morgan Library also suggests that the Master of the Older Prayerbook of Maximilian may have been Alexander Bening (sometimes called Sanders Bening), the father of Simon Bening, the principle artist of the Da Costa Hours.
MS M.399, fol. 11v October from The Da Costa Hours, The Morgan Library Credit: Image courtesy of Akademische Druck- u. Verlagsanstalt, Graz/Austria.
Sometimes the calendar images in a book of hours departs from the more common labors of the month. This is the case with the Morgan Library’s Da Costa Hours image for October. The more common labors for October in books of hours include ploughing and sowing in colder climates, transferring the new wine into casks and barrels for aging in warmer wine-growing areas, or even, a late harvest of grapes in the warmer Mediterranean climates, which is one of the labors in this image from the Morgan Library’s MS M.399, fol. 11v, the October calendar image from the Da Costa Hours.
The Morgan Library’s Da Costa Hours calendar image for October shows a village street with cobblestones. An ox is tethered to the wall of a building; three of the men appear to be discussing price; they are huddled together and one seems to be receiving coins from another man, who has his hand in his purse.
Immediately behind them, a man on a ladder is gathering grapes growing up a wall and over an arbor. A woman, her hands wrapped in her apron, watches somewhat anxiously from the street below the ladder. Beyond her, farther down the street, a man with a staff in hand and a basket on his back approaches a building with what appears to be a sundial set in the gable. The contents of the basket aren’t really clear; they appear to be yellowish brown, and round; possibly grapes, or even nuts or apples.
September from the Da Costa Hours Morgan Library MS M.399, fol. 10v Credit: The Morgan Library and Akademische Druck- u. Verlagsanstalt, Graz/Austria
The traditional labors of September shown in books of hours are harvesting and treading grapes in warmer regions and ploughing and sowing (and sometimes, threshing) in colder climates. In this detail of the September calendar image from the Morgan Library’s Da Costa Hours (MS M.399, fol. 10v), in the foreground a man ploughs with the aid of two horses. Behind him another man is sowing seeds by casting. The seeds are probably winter wheat, and there are more of them in the basket of grain resting on the ground.
Behind him and to the left, a man with a stick is knocking down nuts for the swine below the trees; this is typically the labor for November, but as an actual activity it took place as soon as nuts began to ripen.
The birds eagerly gobbling the seeds are probably European crows, sometimes called Carrion crows, or Corvus corone. Crows in medieval bestiaries are associated with longevity, and warning humans of ambushes. Pliny mentions crows’ habit of dropping nuts on rocks to crack them. Actual crows today do in fact make a racket when the see predatory birds or animals, and that includes humans, and Carrion crows really do drop nuts on rocks and other hard surfaces, like paved roads and sidewalks, to crack them.
Detail from The Da Costa Hours for August Morgan Library MS M.399, fol. 9v Image: The Morgan Library
This is a lovely but also fairly traditional book of hours calendar image for August from The Morgan Library’s MS M.399, fol. 9vThe Da Costa Hours, showing the customary labor of August, threshing grain, as well as the last reaping of grain. In the front on the left, a woman is finding the cut wheat into sheaves for drying. Front and center a double-flail wielding man is beating the ripened grains from the stocks. To his right another man with a sickle is reaping the ripe grain. In the middle distance on the left a cart drawn by two horses (one with a rider) is hauling away a load of sheaves of grain, perhaps destined for a threshing barn. In the distance beyond the cart is what looks like a man reaping on the side of a hill.
Detail from Morgan Library MS M.399, fol. 9v The Da Costa Hours Image credit: The Morgan Library
In the foreground, where the one men is threshing and his neighbor is wielding a sickle, the standing wheat and the bundles on the ground both have small brightly colored flowers of some sort. I can’t help but wonder is some of them are Cornflowers, Centaurea cyanus (Bachelor buttons in North America). Cornflowers take their name from their European habitat; they tended to grow in fields of grain, or “corn” in British English, including wheat, rye and oats. Cornflower blossoms are most commonly blue in color, but purple and pink blossoms are also possible. Other possible candidates for the flowers include the Corn Poppy (Papaver rhoeas), Corncockle (Agrostemma Githago). These meadow and field flowers are often featured in the borders of books of hours, particularly those from Flemish workshops.