U is for Umbrella Maker

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/u/u-umbrella-maker/

Umbrellas and parasols were a mainstay of a Victorian lady’s wardrobe – in a time when it was unfashionable for a woman to have a sun tan, the parasol was an essential part of a lady’s outfit, and when raining, umbrellas were, as now, considered necessary, however, umbrellas in the modern sense were more a… Read more »

The post U is for Umbrella Maker appeared first on Amanda Wilkinson’s Victorian Occupations.


What is an ‘occupation’?

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/other-news/what-is-an-occupation/

One of the most common questions asked both in state, business and personal interactions is ‘what do you do?’ or ‘what is your job?’ and for the former ‘what is your occupation?’   This may seem like a simple question to answer – but in historical terms it becomes more problematic. The concept of ‘an… Read more »

The post What is an ‘occupation’? appeared first on Amanda Wilkinson’s Victorian Occupations.

Who do you think you are?!

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/other-news/who-do-you-think-you-are/

Last year I had the pleasure of working with the producers of Who Do You Think You Are to research into a fascinating member of Sir Ian McKellan’s family.  We had great fun at the shoot in Manchester, he really is the most lovely man you could hope to meet and the whole team were… Read more »

The post Who do you think you are?! appeared first on Amanda Wilkinson’s Victorian Occupations.

New updates coming soon!

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/other-news/new-updates-coming-soon/

After taking some time off from this project I’ll be back to posting on a regular basis from today! Watch this space for lots more occupations, as well as updates on what I’m up to.

The post New updates coming soon! appeared first on Amanda Wilkinson’s Victorian Occupations.

Darkness legible

This post was originally published on this site

Can an object really ever be out of place? Is it not us who are out of sorts when we find something misplaced? And that jolt which occurs as the mind fails to put it where we think it should be is the sensation of liberation as we discover and think anew.

So it is with an art exhibition like Beyond Caravaggio at the National Gallery. As I write, it is about to close its doors for the last time, allowing the paintings it brought together to return to their more accustomed surroundings. Most are familiar, some because they are burdened with the title of masterpieces, and several because they did have far to travel to take up their accommodation in the Sainsbury Wing: those exhibits are ones which are more often to be found resting upstairs against the walls of the main gallery. But what their temporary residence allowed was to see them afresh and it is about one of those I write now.

It is easy to understand why Adam de Coster’s ‘A Man singing by candlelight’ was thought appropriate for an exhibition named after Caravaggio. It is a bravura display of chiaroscuro in the style we relate to the Roman artist and to Georges de la Tour.

Image result for adam de coster singing by candlelight

Adam de Coster, ‘Man singing by Candlelight’, c. 1625-35 (National Gallery, London)

I must have passed it several times on previous visits to the National but something about its positioning in the exhibition arrested me. Perhaps it was the fact that, even in comparison with the other candlelit scenes displayed in the room, there is something audacious or downright odd about this painting. How many early seventeenth-century artists would be willing to place at the very centre of their picture what, in effect, is black space? If it were a century later, we might compare it with the blank pages in Sterne’s Tristram Shandy. As it is we are more likely to ignore it and to concentrate on the artistry of the light thrown on the man’s face. We might even consider the invisible music book as an interruption or a blemish. What, on the contrary, struck me on this occasion was how that blackness unlocks the painting, how its illegibility helps us read it.

What, it seemed to me, standing before it in the over-crowded room (more on that another time) was that it spoke of an inverted world, a place in which we are the shadows. We are invited in, encouraged to imagine that we are there before the musician — for who else could be his audience? — but also kept at a distance. We are on the other side, where the light does not fall and where what we assume are words and notes is blackness. What cave is this we inhabit? One where we are incapable of reading — oh, but surely that is precisely what we are doing, explicating the painting as if its surface was a text. Except, of course, that we, in effect, are attempting to read in dark; we are in the wrong position to dicipher fully. So, let’s draw nearer and enter the painting’s world. But if we try that, our own penumbral status would melt in the warmth of the candle; we would lose our place. We believe — we have to believe — that we are more real than the image we are facing. After all, we have our senses. We know there is, in truth, no book and no space, just daubs of paint on the canvas. We can proudly say we have eyes to see. We can see, at the heart of the picture, precisely nothing. Is that achievement? Or is that the beam in our eye which makes us see absence? We also have ears to hear but do we hear the music? If we do not, is that the painting’s failing or ours?

Tagged: Adam de Coster, Caravaggio, illegibility, National Gallery London

Andrea Ammonio, protégé of Pietro Carmeliano

This post was originally published on this site

History without palaeography is a story half told. Here is a small example from the first decades of the sixteenth century. It comes from my monograph on The Renaissance Reform of the Book and Britain which I am presently completing. I present to you, in part, because I want to invite you to comment on the evidence I have for you.

It is often said that the Brescian humanist, Pietro Carmeliano, was the man who introduced the italic hand into England. The situation, as I explain in my book, is rather more complicated than that, but that is not the issue today. It is also said that he was the first person appointed as the king’s Latin secretary in the mid-1490s. It is true that he revelled in that title, though quite what it signified is open to discussion. He certainly produced a substantial quantity of correspondence for Henry VII; the first sign we have of his acting as a royal scribe (this evidence seems to have been overlooked) is from 1488. If you want not just to see his elegant script but to own a specimen, you may be lucky: not all are in public collections and some do appear for sale. One was up for auction last year and by the look of the note added at the top it somehow strayed (presumably in the nineteenth century) from the Archivio di Stato in Milan. Lot 951 - A rare letter to Da Vinci’s patron, with a full signature HENRY VII: (1457-1509) King of England

Another letter written by him was sold at Christie’s a few years ago; the auction house kindly tells me is now in private hands.

The story also told is that Carmeliano’s fortunes withered in the wake of Henry VII’s death. Other humanists celebrated the accession of his son as a new golden age. One of these poets was Thomas More, though, as I argued many, many years ago, his praise of the young Henry VIII was not as straightforward as it at first appears. Its classic statement, though, was provided in prose by an Italian, from Lucca, who called himself Andreas Ammonius (and who is now known as Ammonio). In a letter to Erasmus he ghost-wrote for William, Lord Mountjoy, Ammonio declared that this would be a new era of liberality, and he himself benefitted from it. In an act which is seen as a symbolic changing of the guard, he took on the role of the king’s Latin secretary, being first mentioned as that in 1511; Carmeliano, it is suggested, was yesterday’s man.

Let us leave aside that Carmeliano did not quit the scene and continued to be referred to as Latin secretary himself. That is significant for what I have to say here only in as much as it suggests that the position was not an exclusive one — and earlier evidence suggests that there was more than one secretary for Latin correspondence in earlier years. These men, in fact, included Andrea Ammonio himself.

There do not seem to be many images of Ammonio’s script available on the web (if you find one, please tell me) but here is one:

A royal letter, signed by Andrea Ammonio, dated 24th June 1515.

A royal letter, signed by Andrea Ammonio, dated 24th June 1515.

This, as you will see, is dated from June 1515, four years after the first reference to him as Latin secretary. This script, though, appears in earlier unsigned letters. At this point, I am going to have to ask you to open another tab and visit the wonderful Portal de Archivos Españoles site. On the page Inventario Dinámico choose the Archivo of Simancas, and under their Colecciones, choose Patronato Real. You are then looking for ‘Leg. 54’ and for two particular items in it. The first to find is document 99. It is a letter to Ferdinand of Aragon dated 30th July 1509 and signed by the new king Henry VIII (it also appears as item 52 in the catalogue of the 2009 British Library Henry VIII exhibition). Look at the script and compare it with what you see above: can you see the similarity? If not, take time to survey the details: look at the tick used sometimes on final e, and the left-turn on the foot of p and q, or look at the shape of the g, or the st ligature. There are so many shared characteristics in detail and in overall aspect that I am confident in proposing that this is by Ammonio as well. If you do not share my confidence, then your next challenge is to tell me: who else could this be at this date? Incidentally, note how fitting it is that he should be employed for a letter on behalf of Henry’s friend and the person from who Ammonio drafted the letter to Erasmus, William, Lord Mountjoy.

This, though, is not all. In 1509, Ammonio had already been resident in England for four years. Now find the document known as Leg. 54, Doc. 70. You will see that this is dated 18th October 1506. Your first impression might be that this is by a different hand from the others you have just seen and certainly the script is thinner, more upright and less assertive — it seems to be by a person learning their trade. Then look more closely, comparing the 1509 and 1506 letters together: look for the ornate ‘quam/quan’ abbrevation, or the placing of the suspension mark for ‘que’ or, indeed, the styling of the serifs. This, I suggest, is once again by Ammonio, not yet settled into his role and essaying his own humanist cursive. In developing his practice, he would have turned to exemplars he had to hand or to a colleague — that is, most likely, to Pietro Carmeliano. The implication of this evidence, in other words, is threefold. First, Andrea Ammonio was involved in the production of royal letters alongside Carmeliano. This, in turn, suggests that we might need to rethink our impression that there was a simple sequence of office-holders: it seems more likely that the title of secretary was an honour given to those who produced the letters, rather than being an exclusive post available only to one person at a time. Finally, what these letters also suggest is that Ammonio may well have owed his first entrée into working for the crown to Pietro Carmeliano. This, of course, does not mean that a rivalry may not have later developed, though we should also not assume that Carmeliano was cast out into darkness when the sunshine of Henry VIII’s munificence shone on Ammonio. In later years, Carmeliano was a rich man. What is more, though he was Ammonio’s elder, he outlived him: the younger humanist succumbed to sweating sickness in the summer of 1517. In 1520 (and, again, this has been undernoticed), Carmeliano was describing himself as secretary to Henry VIII.

The point of this tale is to remind ourselves as historians that reading documents, however subtly, is not enough if we want more fully to reconstruct events like those around 1509. By close attention to the palaeography, with due care and attention to its pitfalls, of course, we can move towards a richer understanding. This might be expressed as a paradox: to delve deeper, we have to appreciate these sources at their face value.

Tagged: 1509, Andrea Ammonio, Erasmus, Henry VII, Henry VIII, Pietro Carmeliano, William Lord Mountjoy

The Unavoidability of the Historian writing about the Present

This post was originally published on this site

I am presently living in the year 1461, or so I thought. I am so deeply immersed in completing a chapter of a book I am writing for Cambridge University Press, that it occupies my mind nearly all my waking hours, and infiltrates some of my dreams too. The subject-matter is not new to me, in as much as the central figure is John Tiptoft, earl of Worcester (c. 1427-1470), whom I have mentioned on more than one occasion here. One of the pages on this site provides a listing of his manuscripts, an updated version of which will act as an appendix to the chapter. However familiar the material is, I am finding myself surprised by what I am writing, in more than one way.

There is something that seems disjointed in the career of Tiptoft. He was a pilgrim and intrepid traveller, who so liked Italy that he tarried there for nigh on three years. He spent his time in cultural pursuits, commissioning and buying up books for which there is ample evidence of his own reading. He even concocted a grand idea of presenting a large quantity of manuscripts to his university of Oxford, and wrote to them from Padua suggesting it. But a cynic might suggest that there was a more pressing reason for his long sojourn in the sun, enjoying cultivated conversation and a glass (or more) of wine: it ensured he could avoid involvement in the internecine conflict that embroiled the land of his birth at that point. But return he did to England, quite quickly, indeed, after the regime-change at home and soon became a key figure in Yorkist politics. His career as Constable of England and Governor in Ireland saw him gain a reputation for summary justice which led him to be so hated that, come the Readeption and his arrest, the crowd in the London streets bayed for his blood.

These two elements of his biography – the lettered friend of humanists, and the uncompromising enemy of Lancastrians – seem mismatched. I did not set out to resolve a contradiction which, I had thought, needed no resolution: we are all changeable and our lives rarely ring a monotonous tone of consistency. But then I met for lunch Tom Penn, who is writing a book on the Yorkists in power. Our conversation encouraged me to think further about the apparent disconnect between the two Tiptofts, and the more I thought about the material I have gathered, the more I came to sense that there are, indeed, links between the two men, and between those Tiptofts and the other one, the one who receives posthumous praise from William Caxton when he printed English translations of Latin texts that he said had been made by the earl.

Tiptoft’s enemies insinuated that his time in Italy had exposed him to nasty foreign influences which he had then imported back home; the suggestion was that his time abroad had made him less English. What I have come to sense is that Tiptoft’s perception was quite the opposite: that it was only be a wholehearted engagement with others within the shared tradition of Western Christendom that one could recognise, let alone realise, the full potential of what it could mean to be English. And, at that point, I wonder about what I am actually writing…

Tiptoft’s opponents, as I have described them, sound to me so much like fifteenth-century Brexiteers, wanting to reduce and confine their identity. He, in contrast, in his cosmopolitanism would have campaigned for Remain, though whether having the man known as the Butcher of England on one’s side is an advantage is doubtful. I did not set out to use my discussion of his manuscripts to become a commentary on our nation’s present predicament. In fact, I usually make an effort to divide between my historical writing and my political commitment. I remember asking Conrad Russell, eminent historian of seventeenth-century England and active Liberal Democrat peer, whether he thought his politics informed his writing of history; his succinct response was ‘I hope not’.

So, how have these parallels forced themselves upon the page? Has there been some sort of surreptitious infusion of a Zeitgeist into my veins? That would be disturbing as I have been reared an anti-Hegelian who, when it comes to the ‘spirit of the age’, practises complete abstinence. The difficulty with the concept is that the ‘age’ is not just imperceptible to all but the ‘great man’; it simply does not exist. What I see in history are not ‘periods’ as much as a myriad of minute shifts, unsynchronised and unequal, that perpetually shake the kaleidoscope through which we spy the world. There are, though, perhaps moments when we sense a movement of the plates beneath us, making accepted certainties judder. It is said that in the US post-1963 everyone could remember where they were of the news of the assassination of JFK: some wept, some cheered, but what they shared was a sense of a changed reality — something irreversible has taken place. For us in Britain, so often dormant in self-satisfied contentment, there has been a moment. It is not that a nation’s destiny has been altered. It is true that, on the basis of a single response from a woefully small proportion of the electorate, decisions are being made behind closed doors to break links with the European Union to an extent as yet unclear (so much for taking control). But, as I have said before, the European Union has never been about a calling, it is a matter of rational choice. What has happened has brought into sharper relief how difficult it is to talk as if there was a Britain as a single united nation. This is not simply about the increased divide between Scotland and England (leaving aside the issue of Northern Ireland); the deeper impact has been to expose the fissures within our society as raw wounds onto which the acid of further rancour is being poured.

We have experienced a moment and are living through its aftershocks. Have the unsettling consequences of it shaped how I have written? I like to think not: I prefer to say that I am reading the parallels into what I have written. I certainly want that to be the most plausible explanation, and not just for professional reasons of keeping one’s impartiality. I suspect I also want the history about which I write, bloody and unsettled through those times were, to be a safe haven that cannot be touched by the increasing bitterness of our here-and-now politics. There must be some advantage to being an historian and maybe it is this: that one can retreat not just from the outside world but into another time. As things stand now, I think I might prefer to be with Tiptoft in Padua in 1461 than in England in 2016.

But, if I were there, I think I know what he would say: we have enjoyed ourselves but we have to return — it is our duty. What, though, can I do, apart from campaigning for a more fully functioning democracy than we have been shown to have right now? Is it that there is also a duty for any historian in these circumstances? The goal of impartiality is more than a noble dream, but are there occasions when it becomes a dereliction of duty? Is one consequence of this moment that the historian writing about the present is not simply unavoidable, it is essential?



Tagged: Brexit, Conrad Russell, John Tiptoft earl of Worcester, Tom Penn

In memoriam C. S. L. Davies

This post was originally published on this site

It has been announced that this morning Cliff Davies, for forty years Fellow in History at Wadham College, Oxford, has died. He has been so much a presence in my life since I arrived in Oxford as an undergraduate that it has hard to imagine the place without him. It seems to me that today the city has lost part of itself — or that its map has become curtailed, and its intellectual geography reduced. He is no longer here to guide us through its memories.

Cliff, I recall, was an obituary-spotter, commenting on not just where a notice was published but how long after the deceased’s death. He himself deserves the full treatment, with the trajectory of his life outlined, from Wales to London, to Oxford, to Glasgow and back to Oxford, and with his many seminal articles noted in such a way that creates a profile of his impact as an historian. Perhaps that will be done in the Oxford Dictionary of National Biography — I suspect that he would be honoured to be included. But I am not going to attempt this here: the news is too raw and my reaction too personal for that. All I can provide today are a few vignettes, through which might come a sense of how much we have lost.

First meeting Cliff

I knew of C. S. L. Davies before I came up to university: his Peace, Print and Protestantism was required reading at school. I vaguely remember thinking when seeing him that he was rather different from the image I had conjured up for him from his writing: different and, I was to find, rather more. It was, in my first year, at a meeting of the undergraduate history group, the Stubbs Society, that he introduced himself to me. He and Kathleen — that is something else about Cliff, the quiet warmth of his married life — were regular attenders. At perhaps the second or third evening seminar that I attended, he came up to me and said ‘well, you must be coming up to Finals soon’. I said he could not get rid of my quite yet; neither of us could have realised then how long I would hang around this place and around him.

Cliff as a teacher

I have in front of me the Festschrift dedicated to Cliff in 2002. An opening section describes him as a teacher by three of his former students, all now successful historians. What they write captures vividly what I also experienced in that room, at the top of the narrow staircase, overlooking Wadham’s back quad: the silences, followed by a sudden flow of incisive words, often accompanied by emphatic gestures which were all the more memorable for being less than graceful. Cliff, it is fair to say, did not attempt to effect physical poise; if you want your dons debonair, then he was not for you — and that would be your great loss. Being in his presence was a lesson in not being distracted by appearance and learning to concentrate, for what he had to say was both rich and fresh, a product of that moment.

I cannot claim to have had tutorials with Cliff: he took me in my third year of then undergraduate degree for Special Subject classes, run by him and by Jenny Wormald (who too is no longer with us: they have both departed within a year). I remember the awkward pauses and how I felt I needed to do something to break them, torn between thinking that saying something, however asinine, was better than nothing, and realising that, if I did, I would sink even lower in these tutors’ estimation. More than that, though, I recall the sense of challenge, the need to question and to re-think — and, by having both Jenny and Cliff in the room, the realisation that challenge did not take a single form but was incorrigibly plural: we should not just change perspective, we must multiply them.

How I became Cliff’s doctoral student

That Cliff was the long-suffering supervisor of my doctoral thesis was an act of supreme kindness. When I began to think about my research, I wanted to focus on the concept of tyranny in the late Middle Ages. I visited the Professor of Medieval History at the time, George Holmes (he too is gone: this blog sometimes has the feel of a necrology). It was his task to seek a supervisor for me. I remember one response: ‘of course I am happy to supervise Mr Rundle, but does he really want to study tyranny? After all, as Fortescue tells us, there could be no tyranny in England. Would Mr Rundle not prefer to study local government?’ Mr Rundle did not prefer and Cliff offered himself to be my supervisor, on the understanding that there would be a second, who was George Garnett. As my research developed, it transmogrified: tyranny led me to an interest in civic humanism at a time when I was also discovering the delights (thanks to Malcolm Parkes and Richard Sharpe) of manuscripts. The result was that my studies moved yet further away from Cliff’s own specialism — I should say, specialisms, they were so varied — but he persevered and continued to have telling comments at every stage. He was a devoted supervisor, attending each paper I gave as a graduate student, and reading over the 150,000-word draft in a weekend. I hope he realised how eternally grateful I am to him.

In the process, our relationship changed: he encouraged me to think of myself as becoming a colleague. His article, ‘Tournai and Tyranny’, was the first one he sent me in draft, soliciting my comments. He taught me the collegiality of scholarship.

Indeed, possibly collegiality is a key word for him, for he was dedicated to Wadham and to his students. He encapsulated the virtues of a college life which put the fellowship and the teaching before one’s own ambitions — or, rather, they were his ambition. How old-fashioned that now sounds. If he does stand for another era, he himself would be the first to warn against any nostalgia. Every age has it warts and worse. Perhaps, though, that is what I sense Oxford is losing with his passing: not so much part of its map as a stage in its own life.

Conversations with Cliff

After his retirement, Cliff continued to be a visible presence, researching in the Bodleian and breaking for lunch when he would meet with a friend. I was sometimes his companion on those occasions and, as always, the conversation would range widely, across centuries of history and a sweep of Europe, but with the centrepoint always being Oxford’s past and present. In the last year, those conversations moved to his home. What has proven to be the final time I saw him there was just under a fortnight ago: though he was physically weaker, his mind was fearsomely alert and precise in its recollections. I enjoyed my visits and learnt from them as I had always done in my encounters with Cliff. I was expecting those occasions to continue in the coming months and years. It is difficult to come to terms with the realisation that the opportunity has died.

Re-reading what I have just written, I appreciate how much of it is about the momentary: the pattern of speech or the style of gestures. That, of course, is the bulk of life and it is what history can capture only rarely. But that is, fundamentally, what I believe I learnt from Cliff: to construct history from life, not from abstractions or from theories. He instilled that by his writings and his teaching but also by how he lived. How much we and Oxford have lost.


Tagged: C. S. L. Davies, George Holmes, Jenny Wormald

History in Fragments

This post was originally published on this site

Today deserves a little fanfare: the latest instalment of Lost Manuscripts has been made available this morning. There are only 32 new fragments, coming from 19 host volumes, so not a full drum-roll and brass band, please — but some piano trumpetting will not go amiss.

This is the third batch drawn from the collection of Samuel Harsnett (1561-1631), a Colchester boy who rose to be Archbishop of York. We must be grateful that he left his library to his hometown, and perhaps equally grateful that the authorities did not look after his books too well: that is, they refrained from hyperactive campaigns of ‘restoration’ and so most of the books are in their early modern bindings, with some usually sensitive repair work done in the 1970s. With those early bindings often come flyleaves and pastedowns from manuscripts. The procedure on the Lost Manuscripts’ website has been the same as before: to give brief descriptions of the bindings, to catalogue the fragments and also, where possible, to bring together separate fragments from the same manuscript and to record that. For reasons I have explained elsewhere, the imaginary location where those physically divorced fragments share an existence as a partially reconstructed manuscript is the city of Babel. The Babel numbers now run up to forty, with twelve new inhabitants appearing today. They include some elegant arrivals — my personal favourite is a full leaf from a fine copy of Moerbeke’s translation of Aristotle’s Metaphysics — but others, it must be admitted, turn up looking rather shabbier.

The intention of this project has never been simply to make freely available, in virtual format, information and images of these books, though that is a benefit in itself: if the result of the website is that someone appreciates more fully what can be found in an early modern book, then it has done a service. My aspiration, however, is that over time we can ask much larger historical questions about the death of manuscript culture. We are far away from being able to do that, but I do have a couple of tentative comments which I think deserve investigating further.

1. The long life of tearing up manuscripts

It is already known that, while the heyday of book destruction was the Reformation period, it began long before that and did not end in the mid-sixteenth century. The Harsnett collection itself has examples of this and it goes back much further: it was an element inherent in manuscript culture, new codices sometimes cannibalising older ones, not just through the re-use of parchment, creating palimpsests, but also through the recycling of discarded pages in bindings. The sixteenth century inherited this practice, which was certainly most widespread in the first three quarters of the century. It did, though, continue and not just in Oxford (as is sometimes said). The material used did, in some cases, change, with an increase in recent paper waste, including booksellers’ accounts, being taken out of the rubbish (or the privy) and employed to serve the purpose that parchment manuscript leaves had previously provided. There are, however, other occasions, at the very end of the sixteenth and into the seventeenth century, when medieval codices were available and were deployed in bindings. In some cases, these were from what must have been quite impressive volumes, being used in known a book-collector’s library: the books of Richard Bancroft (1544-1610) provide notable evidence of this from his time as archbishop of Canterbury (1604 until his death); I will discuss this in more detail another day. Perhaps the manuscripts involved were already too damaged to consider preserving them, but it remains striking that, in this generation of the early antiquaries, destruction could be thought an appropriate process.

2. Not one process but many

What also has intrigued me from the findings we have made so far is the variety of practice. It is obvious that there are differences in use which define the types of fragment that survive: some binders included pastedowns, others had large strips as flyleaves, yet others small reinforcing pieces. There were differences as well in the quality of manuscript, and the parts of it they would employ. In some cases, this must have been governed by issues of availability, a dynamic that must lie behind the increasing use of recent documentary material which I have just mentioned. That, though, would not explain, for instance, the habits of some binders who cut up the manuscript and kept only those pieces with no or minimal text. As some clearly did this consciously, it raises questions about others’ practices: did the provision of an elegant leaf as a pastedown, replete with text and sometimes illumination, say something about the interests or even the loyalties of the binder or of their client? There is a basic opposition in the practices between those which were intended to hide the origin of the material used and those that celebrated it, but even here these describe two extremes of a range of practices. Our intention here must be to get into the mind of the binder when they had the manuscript before them and set about re-using it: we want to recover the impulses that moved their hand as the knife came down upon the parchment.

There are, of course, further issues raised by the increasing amount of evidence that is being gathered, and any comments at this stage must be provisional. But at least we are beginning to know what questions we can ask – and I am confident they will be thought-provoking questions.

Tagged: Aristotle, Babel, bindings, fragments, Richard Bancroft, Samuel Harsnett

Same, similar and suggestive

This post was originally published on this site

There are, I am finding, advantages to a retirement which is ludicrously precocious and — let us be pessimistic for a moment — temporary. In the nine days since it began, I have been on a lecture trip to Cork (with thanks to Caitríona for the invitation, and Jason and Emma for the best-of-Irish hospitality); I have enjoyed a decadently convivial tea (with thanks to Judith); I have settled down to work on completing my monograph, and…

When I first sat down to write this, I was hoping to continue with fanfare and the words ‘I have made a new discovery’. But I have not and what I have instead is in some ways more interesting. For, it is a cautionary tale which may help remind us of the limits of what we can do with our evidence and may suggest what is changing (and what not) about those limits in the digital age.

I am spending time with John Tiptoft, earl of Worcester, who is the focus of one of the chapters of my book. Considering his reputation for sadism, some might consider that I am keeping bad company, even in my solitude. It is not, though, with his bloodthirstiness that I am currently concerned; instead, it is with his book collecting while he was in Italy from the autumn of 1458 until the summer of 1461. I have been drafting a brief paragraph on the humanists who sought his patronage, who included Ognibene Bonisoli da Lonigo, often described as a quiet-living schoolmaster in Vicenza who avoided the bustle of the larger cities. Ognibene presented to Tiptoft a manuscript of his commentary on Juvenal, and that is now in the Bodleian (where it is MS. Arch. Selden B. 50). He also dedicated to the earl a translation of a minor text he claimed was by Xenophon on hunting. I was about to write a footnote reading ‘the dedication copy is not known to survive’ when I decided that was a statement that required a further check.

The transmission of Ognibene’s text has been discussed by my one-time colleague, the enviably polyglot David Marsh. While the work is available in an incunable edition, in manuscript, David lists only five copies. A dedication copy is likely to have been produced as a stand-alone item, and that reduces the list further to two cases where the translation is totus codex. One, in San Daniele, is an unlikely candidate given the history of the Biblioteca Guarneriana. The other is in Yale University’s Beinecke and I had previously excluded from enquiries because the catalogue dates it to the very end of the fifteenth century, so at least two decades after Tiptoft’s execution in 1470, let alone his departure from Italy nine years earlier. Investigating this again, I wondered about the rationale for that dating; it is not made explicit but I suspect it was on the basis of the paper. It is said to have a watermark similar to one the grand master of such studies, Charles-Moïse Briquet, found occurring in stock produced in Verona in 1467, with variants datable to between 1476 and 1492. As the watermark is similar rather than identical to the image he provided, the assumption would naturally be made that it was one of the later variants being used. There is here, however, a helpful reminder of limitations of research even as exhaustive as Briquet’s. More often and not, when one finds a watermark, it is not exactly as is described in his listing (or in Piccard), and then, as the saying goes, all bets are off: no conclusion can be drawn definitely identifying a date on the basis of a similarity. At the most, the likeness might be suggestive of a place of origin since motifs circulated locally — unless, that is, the motif is simple or popular. Even then, however, place of production of paper is no guarantee of the place of its use as a writing surface.

The paper, then, can not be sufficient evidence for dating the manuscript but, if we had only the catalogue, we would have to take the statement on trust. Nowadays, however, we do not have to trust it. The Beinecke is one of those laudable institutions which has made not only its descriptions available on-line but, for many of its manuscripts, uploaded high-resolution digital images. This places the catalogue’s scholarship and the primary source which it describes in dialogue, one which can at times be revealingly discordant. I have described before, in the context of the discovery of a manuscript from Tiptoft’s circle, how this subtly shifts the method of research, in ways which are not entirely unproblematic; more fundamentally, it also alters our sense of the authority of scholarship. We do — and here is a second general note of caution — need to be wary not to replace trust of others with trust in ourselves: our eyes can be deceived by what we think we see on the screen.

Tiptoft was not one of those owners (like Humfrey, duke of Gloucester was) who had a pathological need to announce his possession of a book. Some manuscripts presented to him or written for him do have his coat-of-arms but he himself never provides an ex libris. How, instead, we can identify a book as his is usually by its marginalia, for he added to many of his manuscripts notes in a large littera antiqua, or (and this was more frequent) provided a distinctive diagonal manicula with long forefinger and cuff marked, sometimes surmounting a line in the margin, its straight vertical interrupted by small sets of curves. The images the Beinecke provides reveal an unadorned manuscript written in an elegant humanist cursive bookhand, with ample borders rarely interrupted by annotations, but there are three interventions. The first, at fol. 6v, is cropped but is clearly in the hand of the scribe (note, in particular, the style of st ligature, with the first letter joining the second just below the top of its ascender). This contrasts with the next note, ‘Superstitio venatoria’, at fol. 11v, where the script seems not to be that of the scribe (contrast the form of st ligature, for instance, or the shape of the v). It may be this reader who appears again at fol. 26, adding not a word in the margin but a long straight line, interrupted by small sets of curves, topped by a diagonal manicula with long forefinger and simple cuff marked. That sounds very much like my description of the interventions we can firmly identified as Tiptoft’s, and there are some similarities. If this were simply connoisseurship, we might make a triumphant declaration, but it is not and we would be wrong to do so.

‘Similar’ is not ‘the same’, and the similarities you see have to be balanced against the dissimilarities you want to ignore. So, in this case, the description I have just given overlooks two basic differences. First, Tiptoft usually draws a rather dapper frilly cuff, not the simple curves that appear in this case. True, he does not always use that, as can be seen on some of the openings from another manuscript I have been able to identify as his, Paris: Bibliothèque nationale de France, MS. lat. 7966. But what is invariably the case — and I have gone through several manuscripts checking this is so — is that he always uses a single line to make the forefinger, rather than drawing it with two strokes as happens here. Likewise, if we turn to the words written in the Beinecke manuscript at fol. 16v, there are some similarities with Tiptoft’s hand but the aspect of the script is more flowing, more relaxed in itself than Tiptoft’s rather deliberate serifed strokes.

So, any identification of this reader with the dedicatee of the work the manuscript contains should not be asserted. I think I was sensible to pursue the possibility but more sensible not to force the evidence to prove something it cannot. The principle must be to err on the side of caution: only through firm, incontrovertible identifications can scholarship progress.

And, yet, this is not quite all. The more I look at the Beinecke manuscript, the more I am struck with the similarity of its script with other manuscripts made for Tiptoft or by artisans who worked for him. There is, in particular, a manuscript (for which there are no images available on-line) at Holkham Hall in Norfolk, their MS. 389, an imposing volume of Cicero’s Orations in which several copyists shared responsibility. None provides a direct parallel to the Beinecke’s script, with its slanted ascenders and tendency to some extravagant letter-forms, but the similarities of aspect and of detail (as in the curious ampersand) are suggestive:  these probably did not come from the same pen but it would seem likely that they were from the same milieu. Likewise, there is a codicological detail of the Beinecke manuscript that cannot be checked on-line but may be significant: it is said to be not just on paper but on paper that is ‘highly polished’. This style of finish is also known from other manuscripts produced for Tiptoft (for instance, Oxford: Bodleian, MS. Auct. F. 1. 13) and might again suggest a common context of production.

That is to say, Tiptoft may not have touched these pages but among those whom he knew may have been one or more who did. We cannot make a firm identification but I think, at least, we can draw the conclusion that the codex now in Yale was made in the third quarter of the fifteenth century, on the terra firma of the Veneto, perhaps in or around Padua, the city where the earl was longest present while he was in Italy.

‘Is that it?’, you might ask, ‘can you say nothing more certain than that?’ My response would be that we have a duty not to pretend to certainty when it does not exist, however much others (like you, the reader in my head) or we ourselves put pressure to provide that definitive assertion. This takes will-power in a culture where the expectation is of quick publication. I have already owned up to my membership of the Slow Study Movement and I will insist that there are some types of research that cannot be squeezed into the straitjacket of a finite project started and finished within a REF cycle: manuscript studies demands a longer commitment than that. But, you might also point out, there is an added intellectual difficulty. I said that we should err on the side of caution and I must, therefore, admit that I have condoned error. You could legitimately note that I have shown that Tiptoft’s association with the Beinecke is ‘unproven’, rather than definitely to be rejected. I accept that. You might draw out from that a more general point: is it not our role to speculate? Yes, I respond, we must have speculation and hypotheses, but we must also be ready to set them aside them. What is more, if a hypothesis remains just that, a possibility which is not fully proven, then we might want to share it with colleagues in discussion or in a seminar, but we really should not waste the printed page on it. We should keep such speculation to the spoken word — or to a blog.



Tagged: Beinecke Library, David Marsh, John Tiptoft earl of Worcester, Ognibene Bonisoli da Lonigo, Padua, Xenophon