‘The Vernon Manuscript’: poetry and prose in Middle English and Anglo-Norman, c. 1390–1400; England (West Midlands?)

Title

‘The Vernon Manuscript’: poetry and prose in Middle English and Anglo-Norman, c. 1390–1400; England (West Midlands?)

Shelfmark

MS. Eng. poet. a. 1

Place of origin

English

Date

c. 1390–1400

Language

Middle English (1100-1500)

Latin

Anglo-Norman

Contents

Form

codex

Support

parchment

Physical extent

i (modern paper, unfoliated) + 8 (contemporary supplementary quire, modern foliation i-viii) + 342 + i (modern paper, foliated 414) folios, foliated i-viii, 1–414, the modern foliation (not present on every folio) following the medieval (see below) and including 71 leaves now missing (the former fols. 37, 57–64, 81–88, 102, 106–113, 127–166, 248, 389–391, 402); the original extent was therefore 8 + 413 folios.

Hands

Scribe 1/Scribe A (ff. i-viii and rubrics left blank by Scribe 2 in later quires) writing in an Anglicana hand. Characteristics: flat-topped t; Majuscules: several forms of A with a long approach stroke on the left, exaggerated in the margin; one or two forms of B, wide V with first stroke from low left or higher right; uncial M with closed first compartment; occasional composite S; Minuscules: convex top right segment of the loop of b; frequent 8-like s in initial and final position and 6-like deep-bowled cursive form; flat-topped t; w with first stroke rising from low left; unlooped l (Doyle, 1987, pp. 12–13, colour plate 1). This scribe also copied several Warwickshire documents, notably the cartulary of Stoneleigh Abbey (Horobin, 2013, pp. 40–5).

Scribe 2/Scribe B: Completed all texts apart from Quire 1 and some of the rubrics left blank in the quires he copied. Characteristics: 'steady set round anglicana' without Secretary influence (Doyle, 1987, pp. 11–12).This scribe was also responsible for most of the Simeon manuscript (London, British Library, Add. MS. 22283) but has not yet been identified in any other manuscripts or documents.

Decoration

One-line coloured (normally blue or red) or gold initials, which normally have contrasted and alternating penwork. Quires 32–36, and 41 have one-line gold initials with brown penwork and blue or orange paraphs. Quires 44–47 have violet penwork. There are c. 3250 illuminated initials and c. 365 flourished initials. Two-line indented initials, in gold or deep crimson or blue grounds, with or without marginal extension of more than one sort begin secondary divisions of text or Latin quotations. Four or five-line initials start primary divisions (single legends, miracles, or chapters within work) with the larger marginal extensions called at the beginning of items and of parts of the volumes.

One twenty-two-line historiated initial for the Prick of Conscience on f. 265rc. God the Father holding a Crucifix between angels with censers with a monk in white habit kneeling in front, holding a scroll, 'miserere mei deus secundum magnam misericordiam' (Doyle, 1987, pl. XIV). Possibly by the La Estorie del Euangelie artist. The initial shows a similar technique and colouring, green flowers with red centres and is accompanied by the work of Border Artist D; D also worked on the borders of the Euangelie. Doyle notes that the columbines which hang from the vine at the bottom of the page are also included in some other manuscripts of similar date: Oxford, Bodleian Library, Bodley 316 c. 1394–7 (Pächt and Alexander, 3, no. 674, pl. LXX), Oxford, Bodleian Library, Canon misc. 110 (Pächt and Alexander, 3, no. 775, pl. LXXIV) produced for the Benedictines of Norwich Cathedral Priory, c. 1394–1400, and Durham Chapter Library, A 1.3 in 1386. This initial is attributed by Dennison (2013, pp. 183–9) to 'Illustrator C', also dubbed 'Border artist D1', an imitator of Border Artist D (see below).

One full border and c. 340 border extensions by c. nine Border Artists. (For a summary of different identifications of the artists, and interpretations of their division of labour, see The Making of the Vernon Manuscript, ed. W. Scase (2013), pp. 227–8.) Border Artist A: ff. iii-viii (Doyle, 1987, pl. I). Stylistically close to Border Artist F with its characteristic style being 'brief sprigs of coloured balls or buds and untinted squiggles in pale brown ink on initials (or no sprigs) and well defined white patterns on and in initials (Scott, 1996, p. 22). Border Artist B: ff. 1r-96v, 167r-222v (Doyle, 1987, pl. II; ill. 2). Scott notes that Border Artist B is the second most accomplished Border Artist but writes that he 'has a provincial air, noticeable in the initial sprays with either rather feebly executed coloured balls, pairs of daisy-buds sometimes placed oddly with other motifs on initials (e.g. ff. 19v, 21r, 24r), and in the occasional lack of balance in handling vine-and-leaf branches (e.g. ff. 14r-v, 173v, 180v). His partial borders are characterised by a vine that curls back on itself in a large loop by staggered leaf motifs on vines, by trefoil leaves with white circles on two lobes, rather like eyes or Romanesque beaker heads, and by pairs of barbed, rounded daisy buds. His main colour range is orange, a murky or pale rose, and blue in two tones. Border Artist B had the distinction of making the only full border in the volume (f. 1), on two sides a filigree band and on the others a bar frame. Initials within the work allotted to Border Artist B have mainly coloured balls on extended pen lines' (Scott, 1996, pp. 22–23). Some of the characteristics of Border Artist D also occur in the work of other hands, for example on ff. 350v and 365v (Doyle, 1987, Pl. VXI). Border Artist B was responsible for the whole of part I of Vernon apart from the final quire, as well as quires 23–29 in part III. Border Artist C: ff. 97r-104v. The work of Border Artist C is only found in one quire of the manuscript, ff. 97r-104v. The partial borders of his work are characterised by 'straight sprays of rose and blue trefoil leaves alternating with gold balls not attached to the vine; his initials are deeply serrated around the letter form and hedged with coloured balls (no sprays)' (Scott, 1996, p. 22). A difference in intensity of colour is discernible with his rose and blue hues being brighter than than those painted by Border Artist B. Scott notes that the technique of this artist is closely related to Border Artists: G, G1, and G2 (Scott, 1996, p. 22). Border Artist D: ff. 105r, 114r-120v, 223r-278r (Doyle, 1987, pls. III, IX, XIII, XIV; ill. 3). This artist is considered by both Doyle and Scott to be the most sophisticated of the illuminators. His style is seen as being more refined and probably the result of London influence and training. Scott writes that he drew 'lively sprays of three slim daisy-buds (and sometimes a larger flower bud), whose small size was appropriate to their frequent occurrence on the page (e.g. f. 117). On larger initials this illuminator also used the "tally" style of initial exetension (e.g. ff. 229v, 234r), and also ending in daisy-bud sprays. Border Artist D's borders were executed in bright colours with pairs of (rather than staggered) motifs on border sprays, with ball-and-squiggle motifs along bar-frames (a new idea; see e.g. ff. 236v, 237r), and with, in the later section, grotesques. Some uses of bright orange are quite bright for the period (e.g. ff. 113v-117r). The fine initials f. 117 with large "maple" leaves on stippled gold are indicative of the quality of his training, possibly in London' (Scott, 1996, p. 22; Doyle, 1987, p. 8, pls. III, IV, XIV). Similar work can be found in two copies of Higden's Polychronicon, Cambridge University Library, Ii.2.24, f. 13, and Oxford, Bodleian Library, Bodley 316, f. 8. It is also thought that this artist was responsible for the partial border on f. 7 of London, British Library, Harley 401, a copy of the Floretum dated 1396 (Scott, 1996, p. 22). Dennison (2013, pp. 183–94) attributes the border on fol. 117v, and the small initials on fols. 114–120v, to the artist of Holkham Hall, MS. 26 (her artist D), to whom she attributes MS. Bodl. 316 and Harley MS. 401. Other decoration on fols. 105r-120v and 223r-278r, including the initial on fol. 265rc, she attributes to a less talented follower (her artist D1 who as the same as Scott and Doyle's artist D). Border Artist E: ff. 121r-126v, 412r (Doyle, 1987, pls. V-XII, ill. 5). Border Artist E can be found in only one quire working with the Miracles artist and on the last leaf (f. 412) of the manuscript. Scott sees the sprays on the initials done by this Border Artist as being 'less structured'. They are drawn in black ink and have 'roughly executed' trefoil leaves. There are also coloured balls against the initial ground (Scott, 1996, p. 22). Border Artist F: ff. 279r-286v, 305r, and one intial on verso, 319r-322v, 324r-326v, 351r-352v, 354r-355v, 357r-358v, 394r-395v, 396v, 398r. Border Artist F is stylistically close to Border Artist A although they are not the same artist. Border Artist F is more accomplished than A and his work is 'characterised by two-line initials either without sprays but hedged by rose or blue balls (usually without squiggles) or, more rarely, with stiff, tally-bar extensions (e.g. f. 281), also with balls, and by the use of brown or pale brown for pen squiggles, and on border spray-work sometimes by a leaf and ball paired opposite each other on a vine (e.g. f. 284), but more frequently by pairs of motifs' (Scott, 1996, p. 22). Border Artist G: ff. 287r-294v. Scott describes the work of this artist as being some of the 'uglier work' in the manuscript. His style is characterised by 'daisy-buds on some initials (e.g. ff. 287r, 288r), a group of three buds or leaves from one flower (e.g. f. 288), variant white designs on initial grounds, much use of three dot design, and gold balls attached to the vine'. Scott also notes that the hand uses green tint on some pen squiggles (Scott, 1996, p. 22). Early use of green tint on pen squiggles is also found in a provincial context in the work of Border Artist B in London, British Library, MS Additional 37787, a textually related north Worcestershire manuscript. Border Artist G1: ff. 295r-310v, 323r, 327r-350v, 353r, 356r, 359r-393v (Doyle, 1987, pl. XV), 396r, 397r. It is thought that this artist was trained by Border Artist G. However, Scott sees some differences in technique; she writes that he 'differs from his mentor in two respects: he does not use green, and his partial borders have, at first, mainly smaller rounded leaf shapes, rather than the trefoil shapes of G's work. G1 made the majority of the tally initials. G1 began his second stint in the middle of a quire and on a leaf (f. 323r) started by Border Artist F, and later G1 and F worked together on a quire between ff. 351r-358v' (Scott, 1996, pp. 22–23). Border Artist G2: ff. 311r-318; 399r-411v. Scott sees this as another amateurish artist and describes it as being one of the 'rough hands'. His work is characterised by 'sinuous vines on initials with a variety of coloured motifs' (Scott, 1996, p. 23).

Historiations in borders or initials: historiations are present in a number of borders including a grotesque head and grotesque animals, columbines, animal heads and a lion mask (see Scott, 1996, p. 19 for a comprehensive list).

Illustrator A - La estorie del Euangelie: 1. f. 105rb: 'The Annunciation to Mary', with lily pot (faces damaged); 2. f. 105rc, top: 'The Visitation of Elizabeth by Mary'; 3. f. 105rc: 'The angel appearing to Zacharias' (face damaged); 4. f. 105va: 'The birth of John the Baptist' (two faces damaged); 5. f. 105vb: 'The angel reassuring Joseph'; 6. f. 105vc, top: 'The birth of Jesus'; 7. f. 105 vc: 'The angel appearing to the shepherds' (faces damaged). Only seven miniatures survive for this text although it is thought that others would have decorated the texts contained in the seven leaves now missing from the end of the Euangelie. A similar sequence is found in the Clopton manuscript which has thirty-three miniatures accompanying the text (the Euangelie is found in the London, University Library, MS S. V.17 portion of this now tripartite manuscript). The Clopton Euangelie also has a north Worcestershire dialect and it could share a common exemplar with Vernon (Turville-Petre 1990, p. 31). Each miniature is eight to twelve lines deep and drawn across one column. Frames vary between having one, two, three, or four sides. Characteristics: The figures have flattened body forms, with little modelling of drapery, apart from outlining in black. Faces are modelled to some extent, with those features not damaged rendered in orange-brown (pink on f. 265r); female figures often have rusty coloured hair. Heads or haloes frequently protrude onto the upper frame. The colour range is rose, bright orange, and blue, with landscape features in green. Backgrounds are of stippled gold or coloured with a flower or chainlink design in white, and two scenes (f. 105vb and c bottom) show the narrow foreground with a hilly landscape and stylised trees.

Illustrator B - The Miracles of Our Lady: 1. F. 124rb: 'How Chartres was Saved': The Saving of the city of Crotey (Chartres) from Rollo, led by Bishop Waltelin and the mayor, bearing the Virgin's shift; the besieging army of Rollo blinded by the relic (damaged). 2. F. 124va: 'Miracle of the Boy Singer'/'The child in Paris killed by Jews': a) A Jew beckons the boy into his house; b) The Jew cutting the boy's throat; c) The Jew dumping the body in a privy; d) The mother pleading before the mayor and bailiff; e) The bishop [in margin] holding the lily found in the boy's throat, with the boy's corpse beside in a burial cloth; inscribed scrolls. 3. F. 124vc: 'The Harlot's Prayer': 'The harlot of Rome saved by Prayer': a) The harlot, with a stick, attempting to seduce a hermit, with beads; b) the harlot praying before the Virgin and Child. 4. F. 125rb: 'The Jewish Boy of Bourges'/'The Jewish child thrown into an oven': a) The Jew with a whip leading his son from the Christian church; b) The Jew throwing his child in an oven; c) The child miraculously alive in a burning oven, with his mother and the mayor seated beside. 5. F. 125vb: 'Miracle of the Amputated Leg'/The restoration of an amputated foot: a) a man with an axe amputating the diseased leg of another man, a woman watches; b) Mary restoring the leg; an image of the Virgin, with sprig, and Child beside. 6. F. 126ra: 'The Merchant's Surety'/'The merchant of Constantinople who borrowed from a Jew': a) The merchant Theodorus and Jew Abraham making a money-pledge before an image of the Virgin and Child; b) Theodorus putting a chest with money into the sea; c) Abraham finding the chest in the sea; d) Abraham confesses his deceit to Theodorus. 7. F. 126rc: 'The Fornicating Priest'/'The priest who lay with a nun': a) A monk lying with a priest [error for a nun]; b)The Priest's friend praying before an image of the Virgin and Child; c) The Priest giving the Eucharist to the same priest, who is commended by the Virgin. 8. F. 126va: 'The Quinsied Monk'/'The dying monk healed by Our Lady's milk': A monk seated on a trestle, head in hands; Virgin offering her milk to a monk with quinsy; monk seated on floor beside bed. 9. F. 126vc: 'The Incontinent Monk'/'The incontinent monk drowned but revived': An image of the Virgin and Child in a chapel; a monk with covered head sneaking away from the cloister; Virgin standing on a bridge, separating angels from devils and regarding the drowning sacristan in the river, draped figure on the riverbank.Whilst only nine miniatures remain it is probable that the manuscript carried thirty-three illustrations before the loss of forty-one leaves. The miniatures, apart from the first, are sixteen lines deep and one column wide.Characteristics: Illustrations regularly break into and out of the frame into the margins, lending the illustrations vitality and animation. Presentation of a series of events within a story and not just one incident. Realistic, more plastic, form of human figure. Faces heavily modelled through the use of grey and white, a complexion tone, and tinting of the lips. Fabrics have curved outlines with folds that fall gently, and sometimes outline the figure beneath. Muted shades with various shades of green. The Jew is consistently dressed in a rose-rust gown. The work of Illustrator B is accompanied by the work of Border Artist E.

Diagrammatic text entitled 'Pater Noster in a table ypeynted' in the list of contents. The Pater Noster is presented in the form of a grid with the seven petitions of the Pater Noster presented in relation to the seven gifts of the spirit, the seven virtues and their contrary virtues (f. 231v, Doyle, 1987, pl. XIII; Henry, 1990, opp. p. 90).

F. 105r, lower border, blank shield for an owner's or donor's arms.

Binding

Not medieval; nineteenth century. Covered in crushed russet leather with rectangular gold frame around the edge tooled in blind. Border of the frame is formed of square compartments with alternate fleur-de-lys and lion passant guardant. The internal rectangle is decorated with a lattice design formed by double fillets. The remains of tanned calf are visible beneath the current binding. Bevelled oak boards, possibly medieval. Sewn with six double spine cords, probably in the position of the medieval thongs. Six bands across the spine. Depressions of two clasps are visible on the outer edge of the upper cover of the exterior.

Acquisition

Given to the Bodleian by Colonel Edward Vernon in c. 1677, probably on the occasion of the award of his honorary D. C. L. degree by the University of Oxford.

Provenance

Not before 1381. The translator of Aelred of Rievaulx's De Institutione inclusarum refers to Lollard proposals for church disendowment of after 1381 and a further text refers to the earthquake of 1382 (On the Earthquake of 1382 (f. 411rb, IMEV 4268 (Brown, 1924, no. 113, pp. 186–8)) whilst another mentions the treatment of a Carmelite Friar in 1384 (Who says sooth he shall be shent (f. 408vb, IMEV 3420 (Brown, 1924, no. 103, pp. 152–54).

The origin and patronage of the manuscript are still debated; for a recent summary see The Making of the Vernon Manuscript, ed. W. Scase (2013). Textual and scribal affiliations, scribal language, and the later history of the manuscript suggest that the manuscript was produced (to quote Ralph Hanna) for ‘a religious establishment or a large secular household somewhere in a rough triangle Lichfield-Coventry-Worcester’ (Hanna, 1992, p. 1028). Images on fols. 126va and 265rc, which may illustrate Cistercian monks, perhaps suggest a connection with that order (for discussion, and a dissenting view, see Scase, ‘Patronage symbolism’, 234–8).

Sixteenth century: Walter Vernon (?) - f. 413v, late, record of the marriage of Walter, son of Thomas Vernon of Houndhill (Staffordshire, near Sudbury) and Mary Littleton on 8 September 1583. The births of their children are also recorded: their son Edward on 14 December 1584, and twins Walter and Elinore on 20 September 1585. The death of the twins on that same day is also recorded. Colonel Edward Vernon, who gave the manuscript to the Bodleian was the grandson of Mary to her second marriage to Walter's cousin, John Vernon of Sudbury, Staffordshire (Quinn, 1952, pp. 133–137). Various other names, now cut off with half of the leaf are also written. A list of the Christian names of five sons and four daughters is written in a different hand: probably also the children of Walter Vernon and Mary Littleton (Mary's funeral monument confirms the numbers: J. Charles Cox, Notes on the Churches of Derbyshire (1877), p. 322). F. 343va - 'Gruffyth Smyth'. He was possibly a Shrewsbury man whose will was registered at Lichfield in 1557. Ff. 316v and 317v - indecipherable sixteenth/seventeenth-century inscriptions.

Seventeenth century: f. 413v - 'Thomas Brooke the senior'; f. 53rb, bottom - 'Mary Harpur'.