Andrew Watson, scholar and gentleman

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It was Saturday evening and I was standing in baggage reclaim at Heathrow, just returned from a holiday the restfulness of which was enhanced by a self-imposed purdah, with no access to e-mail or social media. Two weeks, in other words, of cold turkey — not, though, that it had cured me of the curse of internet addiction. Waiting for our suitcases, I could not resist scanning a fortnight’s worth of messages, and found among them the announcement of the death of Prof. Andrew Watson on 15th September. He had been ill for some time, so this could not considered a shock, but that did not reduce the immensity of the sadness. I felt the cavernous hall contract around me, a little air drawn out of the world. We have lost a scholar whose erudition was both remarkable and characteristically understated, for he exemplified a concept now hardly remembered, the English gentleman.

Andrew was professor at University College, London, but he was also the torch-bearer for a grand Oxford tradition of scholarship in manuscript studies. Though most medievalists will have used at least one of his works at some point in their research, he is perhaps less lionised than Malcolm Parkes, who had a gift for programmatic expression (reflected in his last volume, Their Hands before Our Eyes) and for categorisation (witness his invention of ‘anglicana’). Andrew may also not have quite the international reputation of Tilly de la Mare (whose work on humanist script has made her legendary in Italy), though he was certainly highly regarded by continental colleagues in his field. His importance, however, is equal to both of them, encapsulating most fully the bibliographical scholarship of which Neil Ker was the acknowledged doyen of the mid-century. Andrew was Ker’s literary executor, editing his essays after his early death, and providing both the final volume of Medieval Manuscripts in British Libraries (2002) and the valuable supplement to Medieval Libraries of Great Britain (1987), now incorporated into MLGB3.

This should not be taken to imply that he lived in Ker’s shadow. His own contributions to how we perceive scholarly study of manuscript culture are manifold. He was the first British promoter of the international enterprise to develop the precision of our palaeographical understanding by cataloguing dated and datable manuscripts: he provided the volumes for the British Library (1979) and Oxford (1984), both treasure-troves of succinctly expressed insights. He also produced the catalogues of the medieval manuscripts of two Oxford colleges, All Souls (1997) and Exeter (2000). These were not the first to replace Coxe’s mid-nineteenth century listings with fuller descriptions — they were preceded by R. A. B. Mynors for Balliol and Parkes for Keble — but they did provide a model for presentation which was followed by Ralph Hanna’s catalogue of St John’s and is also the inspiration for the volumes now being published by Oxford Bibliographical Society (Queen’s and Christ Church to date, with Trinity soon to follow).

These are substantial works but perhaps they are not as significant as his writings on the post-medieval lives of medieval manuscripts (to paraphrase the title of his collected essays, 2004). John Dee, Walter Cope, Matthew Parker, Everard Digby were among those who received his attention, often working with colleagues. He provided meticulous studies, editing catalogues and tracing the manuscripts where they still exist, but it is their cumulative effect which is of prime importance. What lies beneath the work is the realisation that we cannot fully appreciate the world of medieval manuscripts if we confine ourselves to the centuries which we call the Middle Ages. What exists for us has been shaped by later multiple destructions, intentional (as in the Dissolution of the Monasteries) or accidental (witness the fires that the Cottonian collection has suffered), and by the work of a few to save some of the artefacts from death. As we touch a codex we might feel an immediacy of contact with its creators and earliest readers but, Watson reminded us, we have also to understand how it has come to be available to us in the library where it now resides. Put most basically, he taught me that the first question to ask when working with a manuscript is: why is it here?

I say that he taught me; I cannot claim to have been fortunate enough to have been a formal pupil of his. But he was hugely helpful to me when I was working on my doctorate, and in subsequent years. I learned palaeography from Malcolm Parkes and Richard Sharpe, and Parkes also guided my first steps as I attempted to catalogue manuscripts, but it was Andrew who provided the closest attention to my attempts to describe a codex. He did most to shape my practice in this field, and, in so doing, he helped me appreciate the importance of studying the whole codex. It is important to add that he acted as my mentor without there being any duty to do so: by the time I knew him, he was already retired. He did it not because it was required but that it was in his character to be supportive. A generosity of spirit defined him.

Andrew will be remembered for his writings but they do not constitute the sum total of his legacy. Those of us who knew him cannot forget the kind heart that beat in his slender frame. We can only attempt to emulate the extent of his kindness — but try we must, to be true to the memory of a true gentleman.

 

 

Tagged: A. C. de la Mare, Andrew Watson, Everard Digby, John Dee, Malcolm Parkes, Matthew Parker, Neil Ker, Oxford Bibliographical Society, Richard Sharpe, Sir Walter Cope

The Books and the Wall

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I read, in past days, that the man who ordered the construction of the nearly infinite Wall of China was that First Emperor, Shih Huang Ti, who likewise ordered the burning of all the books before him. That the two gigantic operations—the five or six hundred leagues of stone to oppose the barbarians, the rigorous abolition of history, that is of the past—issued from one person and were in a certain sense his attributes, inexplicably satisfied me

I read again today Borges on the first Emperor of all China and, as rarely happens with that consummate miniaturist, I was left less than satisfied. Borges approaches an explanation, in which the intention of the building and the burning is, in some secret way, to counteract each other but then he steps back, denying his own ability to explicate. Borges’s art, however, is always to take us beyond his own words and to hint to us at whole worlds. So, perhaps, we should take the imperfect cadence on which his essay ends as an invitation to begin.

Let us imagine, then, that one day Shih Huang Ti received a visitor. The wandering Jew had heard the tales of his grandiose achievements. Ushered forward by the counsellors, he narrates to the emperor a story from the history of the far west, telling him of Nimrod and his tower at Babel. The Emperor smiles: ‘I am greater than Nimrod. He attempted more than he could achieve and so his tower was never completed. But I am capable of what I will and, look, my wall is done.’ The Jew raises his sad eyes, momentarily catching the imperial stare. He hastily lowers his gaze again, as he gives a slight shake of the head and mutters: ‘but that is not your Babel’. And so he leaves, avoiding the fate of those, alchemists or Confucians, whom the Emperor orders to be buried alive.

The Emperor gives no sign of having heard the Jew’s response. If he had (his counsellors assume), he would have brushed it aside: how ridiculous; of course, it is my Babel; if not, then what else? They talk among themselves about what might have been meant, and one says what the other dare not: of Shih Huang Ti’s twin deeds, the more gargantuan task, so great that its accomplishment was implausible, was the destruction of all the books. The removal of written records should have killed off Confucius, but his fame has not died.

The counsellors, so close to their master, are still liable to misjudge him. In the corridors of his own mind, a chill breeze of recognition has brushed his cheek. No, I cannot destroy all books, but at least I have my wall. It is a consolation for my failure.

Years after the visit of the wandering Jew, when that day could hardly be remembered, the burnt books take on an added meaning for the Emperor. He is old and does not want to end his days. Timor mortis conturbat me. He seeks the elixir of life and seeks, ever more desperately. During this, his last challenge, he reviews his past life and reasons to himself how right he had been to cast out all those memorials of previous times. To remember is to live before birth and beyond death – but to do so is necessarily to acknowledge the temporal limits of life. To forget is immortal.

New light on George Hermonymos in England

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Encountering the unexpected is the thrill and the curse of research. A thrill because it provides the frisson — no, that is too coy: it provides (as I have said before) a hit and a high as strong as any hallucinogen which keeps up going through the dull days when the sources turn up the same old material again and again. It is a curse because it reminds us that our work cannot be done and our conclusions only ever provisional. And if we imagine that we have conquered the archive and have panoramic knowledge of what is there, then the unexpected appears to remind us that the archive itself is always incomplete.

In my case, what offers up the unexpected is often an auction house. Perhaps, like the character in The History Man, I should be able to predict the unpredictable because, looking over my notes, I see the unexpected comes up for sale with some frequency. There have been four instances of previously unknown codices relevant to my research turning up for sale during the lifetime of this blog, so that it is an average of just under once every two years. But they do bunch together: the year 2010 was a bumper one (and not just because it was when I married — nobody thought of buying one of these as our wedding present): a previously unknown manuscript by the one-eyed Dutch scribe Pieter Meghen, and another by an earlier compatriot of his, Petrus Lomer. The following year Sotheby’s revealed to the world a volume associated with the English humanist, John Shirwood, protégé of George Neville, bishop of Exeter and subsequently archbishop of York. The latest addition to the list of manuscripts that have lurked in private hands unknown to scholars also has a connexion with George Neville, brother of the Warwick the kingmaker who fell into disfavour and into prison after Edward IV returned to the throne after Warwick’s failed coup against him. It is a pocket-sized codex, in its original binding of velvet over boards, by an itinerant Greek scholar, George Hermonymos, who was sent to England to secure the release from prison of Neville, only to end up in gaol himself. It is to be auctioned on Wednesday, 12 July, as lot 17 in the Christie’s sale. The asking price is beyond my meagre means but it is my birthday coming, so I can dream…

As the catalogue says, this volume is the twin of a known manuscript, London: British Library, MS. Harl. 3346, a set of gnomic sayings of ancient philosophers, compiled in Latin by Hermonymos. In that manuscript, the work opens with a dedication to Archbishop Neville, decorated with an English style of bianchi girari initial inhabited with grotesques, known from other manuscripts; preceding it on the opposite verso is an illumination of two angels holding Neville’s coat-of-arms (but with a glaring error that quarters them with the arms of the see of Canterbury). The new manuscript has the same layout, though here the dedicatee is, instead, William, abbot of St Albans – who precisely that was is unclear since, in the year that the Greek humanist came to England, the position changed hands from one William (Albon) to another (of Wallingford). The coat-of-arms in this manuscript (sable, three covered pitchers argent) does not help, either. The Christie’s catalogue considers them to be overpainted but when I inspected the manuscript, it struck me that there is absolutely no sign of a previous coat and that any removal has been very careful, leaving in place the angels’ fingers holding the shield. It is, then, more likely to be the only coat-of-arms painted but, as far as I have been able to find so far, we do not know the heraldry of either of these abbots.

If that sounds to be a dead end, there are ways in which the manuscript opens up new routes of research. It is a twin to that intended for Neville not just in its presentation but also in its text: the dedication to the work is nearly identical in wording, with only a few changes reflecting the lower status of the abbot (so ‘reverendissimus’ becomes ‘reverendus’). I have previous acquaintance with this text, because I edited it for the appendix I produced for the fourth edition of Roberto Weiss’s Humanism in England — a work available on-line and, I am assured, about to be printed (you can pre-order a copy). That, of course, has now become slightly outdated by the discovery of this new copy and so I have revised my own work which I offer to you (most learned reader) as an attachment.

As I note in the headnote to that appendix item, there is another codex, London: British Library, MS. Harl. 3348, which also has Hermonymos’s work, though it is damaged and so lost its opening. That means we cannot know for whom it was made and the assumption has been that it was an abortive attempt at a presentation copy for Neville, superseded by MS. Harl. 3346. Certainly, the preface addresses its recipient with the same superlatives (‘reverendissmus’ etc), while the script in this manuscript is a gothic bookhand rather than the humanist littera antiqua of MS. Harl. 3346. However, the fact that we know now that Hermonymos produced another version for another dedicatee raises the possibility that, in fact, he was having multiple copies made in a somewhat scatter-gun approach at seeking patronage. Famously, Erasmus was later chided for what was seen as a humanist habit of recycling one dedication for another recipient, and it is manifest that the visiting Greek was involved in this practice. It was not for that reason, we should stress, that he ended up in prison — that would have been a harsh penalty. We might wonder for whom MS. Harl. 3348 might have been intended: the form of address suggests that it was a high-ranking cleric, at least a bishop. Could the error in Neville’s copy, with the arms displaying those at the see of Canterbury, be a muddle with what was supposed to appear in this manuscript, making the other recipient Cardinal Thomas Bourchier, archbishop of England’s southern province?

I talked in the previous paragraph of Hermonymos having multiple copies made and this is where we can advance scholarship a little further because of the manuscript about to be sold at Christie’s. I have already mentioned that the two Harleian volumes are in different scripts but they are, I suspect, both by the same hand. I believe the work can probably be identified with a small group of three manuscripts (now in Corpus Christi College, Oxford) in which the style shifts between gothic and humanist — the identity of the copyist is elusive but we do know he produced those books for John Shirwood, Neville’s associate with whom we know Hermonymos had contact while in England. There is a further piece of evidence that needs to be added: while the main text of the presentation copy to Neville is all in one hand, the opening title is inserted by a different person, as can be seen in the image provided by the BL’s Illuminated Manuscripts Catalogue. The handwriting of that title is a match for the complete text of the ‘new’ codex.

This raises a possibility. It is common practice in humanist manuscripts that the person over-seeing the scribe adds the headings. If these volumes conform to that, it would suggest that the person who has control of the enterprise is the scribe of the copy made for the abbot of St Albans. This might seem counter-intuitive: would not the most care be taken for the volume planned to be given to the person of highest standing? Indeed, that is likely but that does not mean the overseer would take responsibility for the copying, particularly if they thought a more professional scribe was to hand. The tentative conclusion to which this thinking is reaching is probably already apparent: might not the overseer be the mastermind of the text itself, George Hermonymos?

Hermonymos has been well studied as a scribe in his native language of Greek; his Latin script is less known. The only certain examples are in a humanist cursive which is less formal than that in the manuscript up for sale. One of those is in the Bodleian, as MS. Grabe 30, Hermonymos’s own notebook, where he signs one entry in Latin.

Oxford: Bodleian, MS. Grabe 30 fol. 112v, with Latin and Greek scripts by George Hermonymos

We cannot make a direct match between that and the codex for the abbot of St Albans: not only are they in different styles of script but that in the Bodleian manuscript is less certain. We might hypothesise, of course, that Hermonymos would be in his private notebook more experimental and less confident than in a presentation manuscript. There are, moreover, some similarities of aspect — the similar slant of long letters — and of letter-forms, the pronounced foot of the r and the curve on the h, for instance. In short, the only firm conclusion must be that it cannot be ruled out that the small manuscript about to be sold at Christie’s is a rare example of its author’s Latin bookhand.

Oh dear, have I just increased the asking price? With that, another of my dreams recedes further from the realms of realisability.

 

 

Tagged: bianchi girari initials, Cardinal Thomas Bourchier, Christie’s, George Hermonymos, George Neville, John Shirwood, Pieter Meghen, St Albans

Fragmentary futures

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Next week, there is a one-day conference in Cambridge which is a positively mouth-watering prospect — at least for those of us who are fascinated with manuscript fragments. The organisers, Stephanie Azzarello and Kate Rudy, have brought together an impressive list of speakers, and then there is me, rounding of the day with a talk entitled ‘Utopia, Babel and Dsytopias, past and present’. Ahead of that, I was asked to write a post for the conference’s micro-site and it has just been published. In it, I ask some questions about what the drivers may be for the recent upsurge in interest in fragments. I do not pretend to have answers and would be interested to hear your views.

https://reconstructingmanuscripts2017.wordpress.com/2017/06/10/the-age-of-the-fragment/

Tagged: fragments, Kathryn Rudy

The Mysteries of the Wolsey Lectionaries

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Last week saw the launch of an exciting new website, The Wolsey Manuscripts. Its primary purpose has been to bring together the two gorgeous lectionaries produced for Thomas Wolsey in the late 1520s. They have, since the seventeenth century, lived in the same city, but in different institutions, one at Magdalen College and the other at Christ Church. Their libraries might be only a few hundred yards apart but, as anyone who knows Oxford well will attest, the High Street marks a cultural separation to compete with Paris’s divide between the rives droite and gauche. The books, as a result, have rarely been seen together and this project, energetically overseen by the two librarians, Daryl Green and Cristina Neagu, has provided the opportunity to reunite these long-separated twins — both in the flesh for a few days and permanently on-line.

The launch on Thursday involved a jolly evening event with a set of short talks; mine was on ‘Pieter Meghen, Scribe, Drunkard, and a Waste of Space’. I was accidentally introduced as Meghen himself; to add to the audience’s disappointment, I had to admit I could not compete with him in all regards — I am no scribe. The following day, the morning was given over to an academic roundtable discussion of the manuscripts, which I chaired. I opened it by reflecting on how, though the manuscripts are so beautiful and so famous, there are so many mysteries about their history. The symposium itself demonstrated how much there remains to be considered but also how the new website can help us. I want to draw attention to that by discussing here two details.

The lectionaries have traditionally been assumed to have been commissioned for Wolsey’s Oxford foundation of Cardinal College, the forerunner of what is now Christ Church. However, both James Carley (who was present) and myself have come independently to the conclusion that this is unlikely: the rota of feasts to be celebrated does not fit precisely with those Wolsey’s statutes required for his college, and the choice of saints says more about Wolsey’s construction of his own identity, suggesting they were for his private chapel. There was around the table no appetite for reviving the claim for a Cardinal College provenance but I thought we should at least air it. The internal evidence for it is taken to be the rather unusual presence of an image of St Frideswide in both manuscripts — Frideswide, the local saint of Oxford, adopted by the university as its saint and whose shrine was to be housed in Cardinal College. With the wonders of Mirador, we called up each of the miniatures to sit appear alongside each other, and the result led our conversation in a different direction. If you do it yourself, using the viewer to show fol. 12 of the Christ Church Epistolary and fol. 14v of the Magdalen Gospel Lectionary, you will see that, while the overall structure is the same, the details and the style of rendering is different: what we have here is evidence of two different hands at work.

This confirms what is a reasonable supposition — that the manuscripts were illuminated by a workshop rather than a single individual. Exactly where that workshop was remains unknown. In the forthcoming catalogue of the manuscripts of Christ Church, written by Ralph Hanna and myself, it is suggested that it was in Westminster, partly on the stylistic proximity to charters for Cardinal College produced in the same years. In particular, it seems to me that the same hand has written in gold the motto on the garter that appears in one of the charters and repeatedly in the manuscripts (for instance, at Magdalen MS. lat. 223, fol. 14v and Christ Church, MS. 101, fol. 20); note, for instance, the rather fat shape to the ‘O’:

Kew: The National Archives, E24/6/1, detail.

At the roundtable, however, Scot McKendrick was firmly of the opinion that the illumination could not have been executed in England because of evidence of ‘Antwerp mannerism’. The proposal that the manuscripts were sent across the Channel to be decorated is inherently plausible — we know that the sea acted more as a thorough-fare than as a barrier, and, of course, Meghen as a Dutchman himself, had good contacts in his homeland. Such a scenario does, though, create questions of its own: in the Christ Church manuscript, there are blank pages interrupting the text, raising questions about why an incomplete volume would have been sent overseas to be illuminated. It is also well-known that the Magdalen manuscript has different iconography from its twin, as it — but not the accompanying texts — celebrates Wolsey as bishop of Winchester (a see he received in early 1529); was this volume sent later with instructions of its own or were revised instructions rushed across the Channel?

In thinking about these matters, there was another detail that sharp-eyed Daryl Green brought to our attention. We zoomed in close on the initial at Christ Church MS. 101, fol. 33v and saw that the letter ‘p’ descends into the illumination just below. It is, in fact, not the only occasion on which this happens: looking through the manuscript itself with new eyes, I noticed a parallel to it at fol. 26v (there are, though, no equivalents in the Magdalen manuscript). This suggested to us at the roundtable that the rubricated titles must have been added after the illumination, complicating further the order and process of production. That was, in fact, a false hypothesis, as I can say now having used the website further. For, while there does seem to be over-painting in those two instances, there are also occasions when the edge of the  border has been interrupted to allow space for the title; in other words, in this case, the illumination must have happened after the rubrication. You will see a good example of that if you go to fol. 40 — and you will also see that the top of some of the ascenders on the first line (the ‘d’ and the ‘ct’ ligature) have been painted over by the illuminator. So, in these cases we have one sequence of work; do we have the opposite at fol. 33v? This is where the high resolution allowing us to zoom in very close is revealing in a way that peering at the page itself is not. Call up that folio again and zoom right in on that ‘p’: look closely and you will see that the gold circle surrounding the ‘E’ below stops at each side of the descender. You will also see that the colour of the descender does not change. These details demonstrate that the artist was actually painting around the letter, and is even making a feature of it. So, thanks to this technology, we can be certain that rubrication did occur before illumination but we also come to understand the care with which the artist interacted with the script.

The two insights that I have discussed here have become possible because of the capabilities of the new website. It is now your turn to tell us what you discover. I await your comments eagerly.

Tagged: Cardinal College Oxford, Christ Church Oxford, Cristina Neagu, Daryl Green, James Carley, Magdalen College Oxford, Pieter Meghen, Scot McKendrick, St Frideswide’s Priory Oxford, Thomas Wolsey

Leviathan in the Library

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I am preparing the first of a brace of talks that I am to give this week. They are on a rather different topics from each other but they are both to be presented in the same location, the ball-room-like expanse of the Upper Library of Christ Church, Oxford. The setting is particularly appropriate for the first event, which takes place this evening. It is a speaker meeting of the Oxford Bibliographical Society and is entitled ‘More than a House for Books: collecting and Christ Church Library‘. It grows out of the work I have done reconstructing the history of the collection for the introduction to the forthcoming catalogue of the manuscripts of Christ Church, and it also is in anticipation of an exhibition that will be staged in the autumn. My intention in this post, however, is not to pre-empt this evening’s discussion but briefly to introduce something which caught my eye while doing the research for it.

I have been poring over the Library’s Donors’ Book, a hefty volume which was created in 1614 in imitation of the equivalent made for the Bodleian. Its original purpose was to celebrate the generosity of Otho Nicholson, a Londoner with no previous connexion to Christ Church, who bank-rolled the ‘restoration’ of the Library (then situated in the cloisters, behind the grand Hall built by Thomas Wolsey). After a few years of enthusiastic record-keeping, the entries became more erratic, but were kept more consistently in the 1650s. This is a striking moment: the Founder’s descendant, who had also set up his palace in its quads during the Civil War, had suffered the removal of his head from his body; the institution’s dual status as college and cathedral had been diminished by the Republic’s opposition to the episcopacy. Christ Church itself, however, survived, and in some ways (which I will discuss this evening) became a symbol of continuing royalist loyalty. This is reflected in some of the gifts the Library received but not, perhaps, in the one to which I draw your attention now. Here is the entry:

Oxford: Christ Church, MS. LR 1 (Donors’ Book), p. 108

That an Oxford library should receive a copy, soon after publication (it appeared in 1651) of a work which we consider a classic, might not seem surprising. But Hobbes’s Leviathan was such a controversial work that, only a couple of decades later, just a few hundred yards north of Christ Church’s library, the University’s authorities ceremoniously burnt copies of it. In its presentation of a ‘science’ of princely power, it was seen to undermine the very moral order that justified such power; it was considered the enemy of legitimate kingship, rather than its supporter.

It is not just this potential incongruity that struck me when reading this entry; it was also the description of its donor, Vincent Denne, himself an alumnus of Christ Church. He is here described as in supremis Regni consiliis municeps, participating in the ‘supreme councils of the Kingdom’. Is that noun simply a slip, a failure to remember that the kingdom was now a republic or is it some sort of wishful thinking? Does it hint at how the librarian would have read Leviathan?

The ‘supreme councils’ is an euphemistic phrase which presumably refers to Denne’s status as Member of Parliament for his hometown of Canterbury; he was elected in 1656. The librarian who makes this entry is rarely given to periphrasis: is this some sign that the legitimacy of a Parliament called into being without royal authority was considered problematic? Would the donor have shared such misgivings? The very fact that he was an MP and also a JP for Kent in these republican years suggests he had made his peace with the new regime. The result was that at the Restoration, he found himself in difficulties, though he himself claimed his family had shown their loyalty to their king.

So, what was Denne thinking when he offered to them this recent work on government? Did he consider it a counter-balance to the nostalgic royalism apparent in his college’s library? Or was the act of donation to his alma mater a suggestion of his continuing loyalties in new times which required new ways of acting and of thinking? And what was the Librarian thinking when he accepted and entered the gift in the Register?

Without other evidence, we will not know. The volume itself has disappeared from the library — the only copy of the 1651 edition now present was given by a grander old boy, William Wake, archbishop of Canterbury, in 1738; probably after this point, Denne’s book was considered surplus to requirements and, like many others, de-accessioned. There is an intriguing issue lying behind this short entry: how far were gifts and their recording a coded language in this unquiet years? It deserves further consideration — but I better write my paper for this evening, instead.

 

Tagged: Christ Church Oxford, Oxford Bibliographical Society, Thomas Hobbes, Vincent Denne

Isabella Ormston Ford, (1855-1924)

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This post was originally featured on , on . You can read the original article here at http://victorianoccupations.co.uk/great-victorians/isabella-ormston-ford-1855-1924/

  As well as writing about Victorian Occupations, I think its helpful to consider some of those great philanthropists who sought to help those working in the terrible conditions in which so many of the working classes found themselves. During the 19th Century, especially in the latter years, the concerns over sweating and the abuse… Read more »

The post Isabella Ormston Ford, (1855-1924) appeared first on Amanda Wilkinson’s Victorian Occupations.

A further manuscript from the collection of John Tiptoft, earl of Worcester

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What was I saying the other day about the vain pursuit of finishing? While the proofs of the manuscript catalogue of Christ Church, Oxford progress towards the dreaded finality of print, I am also working to complete the text of another book, my monograph on humanist scripts and England. One chapter which I thought I had put safely to bed woke up this week with a start and a cry for more attention. The reason was the discovery of the provenance of an understudied manuscript in Cambridge University Library.

I am not complaining about this: it has happened at a moment when I can make the necessary changes to my text. Besides, I have already outed myself as a discovery junkie, waiting for the next high that comes with uncovering something not previously noticed. Not that this was a full hit — that comes when serendipity and surprise combine. In this case, I already suspected what might be there to find.

The trail to CUL, MS. Mm.iii.18 began with a note in the unpublished papers of A. C. de la Mare, a mine of gems held in the Bodleian. It was Tilly de la Mare who, in 1988, produced the last detailed study of the library of John Tiptoft, earl of Worcester, one of the two English secular princes — the other being Humfrey, duke of Gloucester — famed for collecting humanist manuscripts in the fifteenth century. She listed twelve manuscripts, including some by the enigmatic scribe known only by his initials ‘VfI’, but this Cambridge manuscript was not among them. She must have come across it later, for her notes comment that it too was by ‘VfI’. A few months back, I tried to follow up this lead and found to my surprise that it is not listed in the recent monumental catalogue of illuminated manuscripts in the UL, though it does include four bianchi girari initials. I contacted the library staff, and the amazingly helpful James Freeman sent me some images which confirmed that this codex, even though it is unsigned, is definitely written by ‘VfI’. That raised the question of whether it was made, as were several other of his productions, for the earl of Worcester. That I could not check without going to the UL myself and this last Wednesday was the first opportunity in a busy term to do that.

I assume that Tilly had not had the opportunity to consult the manuscript because if she had she could not have missed the tell-tale sign which welcomed me when I randomly opened the volume (a small moment of serendipity). What appeared was this:

If you ever come across a pointing hand like this, please drop me a line straightaway, for this is the highly distinctive manicula of John Tiptoft. There are, in fact, only a few other interventions by him in the volume, but it does also include annotations by his secretary, John Free, and others by another Englishman in his circle, John Gunthorp. What is more, this manuscript gives a hint about the origins of the scribe himself — but I will not mention that now; I have, after all, to leave something for the book.

As I said, the list of manuscripts provided in 1988 included twelve items; at that point, another ten were also known to have been his. The number now stands at 33, with another six related to Tiptoft but probably not owned by him. This is a notably high figure; it is nearly as many as survive from the library of the other noble just mentioned, Humfrey, duke of Gloucester, whose collection (I estimate) originally numbered over 600. There are, though, I suspect, more of Tiptoft’s to find. I wish I could wait to discover them before publishing, but one never knows in this pursuit when the chase is done. Instead, I predict that the day I sign off the proofs of this monograph, an e-mail will appear in my inbox, responding to my request for new sightings of his manicula, alerting me to a previously unknown instance. I will curse the day but also allow a little cheer.

Tagged: A. C. de la Mare, Cambridge University Library, CUL MS Mm.iii.18, John Free, John Tiptoft earl of Worcester

Schools and Sanitation – Rowhedge grows….

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  In this fourth and final post of the history of Rowhedge in the 19th century I’ll be focusing primarily on school life and the strength of the villagers as they fought off all on-comers in their attempts to bring a degree of drainage and sanitation to the village – a situation described as ‘a… Read more »

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Rowhedge – A Community

This post was originally published on this site

This post was originally featured on , on . You can read the original article here at http://victorianoccupations.co.uk/local-case-studies/rowhedge-a-community/

A Community Grows    In his essay ‘Rough Days at Rowhedge’,[1] Hervey Benham characterises the village as a community of disorganised, barbarous criminals. The fishermen (who he refers to as ‘hairy old amphibians’[2] ), standing in a bath of beer on the pub floor, their ‘wretched’ wives beside them, boys running from pub to pub… Read more »

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