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Triangular texts in three manuscripts from early medieval England

When I visited the amazing exhibition ‘Anglo-Saxon Kingdoms: Art, Word, War‘ at the British Library (19 October 2018 – 19 February 2019), I was struck by the wealth of manuscripts on display. Among this treasure hoard of Anglo-Saxon manuscripts, my eye fell on a manuscript that was annotated by none other than the missionary Boniface (d. 754).

Oxford, Bodleian Library, MS Douce 140, fol 4r. The interlinear glosses are attributed to Archbishop Dunstan (d. 988); the triangular note in the top margin is attributed to Boniface. The manuscript has been fully digitized and is available here.

In the Netherlands (where I am from), Boniface is one of the few early medieval figures of note to feature in our national history curriculum and he is, therefore, a common reference point for me when I talk about Old English and Anglo-Saxon England to a Dutch lay audience (e.g., Old English as the language of Boniface and Willibrord). Boniface has come up elsewhere on this blog, see, e.g., Anglo-Saxons in the Low Countries: Boniface in Dorestad and ‘The last king of medieval Frisia’: Redbad and the Anglo-Saxon missionaries.

Looking at the display, I was not only struck by the fact that I was looking at Boniface’s own handwriting, but also by the form of Boniface’s annotation, which was shaped like a triangle. Similar triangular notes are found throughout the manuscript:

It seems as if Boniface took particular effort to make his notes triangular. The note on fol. 27r, for instance, reads “De septem faculis et quattuor animalibus oculatis” [about the seven torches and four animals with eyes], but was formatted as follows, without any respect for word boundaries:

K. De septem facu
lis et quat
tuor ani
malib
us o
cul
at
is

Triangular note by Boniface

The K is an insertion mark and is matched by another K in the text, to indicate which part of the text that this is a comment on. Apparently, this note was added to indicate where chapter VII of the first book of Primasius’s Commentary on the Apocalypse started (the seven torches and four animals are mentioned in the Book of Revelations 4:5-6). Note how Boniface also added two triangles above and under the number VII he added in the left-hand margin:

The triangular form, no doubt, is somehow related to the Trinity that is so important in Christianity – I have not come across many instances of this type of text formatting, but there are at least two other manuscripts from early medieval England that feature something similar.

Triangular text in London, British Library, Royal MS 8 C.iii

While Boniface’s triangular notations were added after the main text had been finished and, as such, represent the marks of a user or owner of the text, the original late tenth-century scribe of London, British Library, Royal MS 8 C.iii made part of his main text into the shape of a triangle:

The text that has this triangular form is an exposition on the Mass and deals, e.g., with the Eucharistic prayer. The contents of the text does not appear to call for a triangular form of the text (other than, of course, dealing with the Trinity), but perhaps the scribe was nearing the end of his quire (gathering of folded pages) and wanted to drag out his text, so as to finish on the last page. It would not be the only weird instance of text formatting in this manuscript; I wrote about the manuscript and its inventive scribe here: Word processing in early medieval England: Browsing British Library, Royal MS 8 C III

Thureth: A speaking book, a triangular poem

The third example of a triangular text is the interesting Old English poem Thureth. This text is found at the beginning of an early eleventh-century benedictional (a collection of blessings used in the Church). The poem is in the first person and the speaker, intriguingly, is the book itself. The book asks God to take care of Thureth, the man responsible for having the book lavishly decorated:

Ic eom halgungboc; healde hine dryhten
þe me fægere þus frætewum belegde.
þureð to þance þus het me wyrcean,
to loue and to wurðe, þam þe leoht gesceop.
Gemyndi is he mihta gehwylcre
þæs þe he on foldan gefremian mæg,
and him geþancie þeoda waldend
þæs þe he on gemynde madma manega
wyle gemearcian metode to lace;
and he sceal ece lean ealle findan
þæs þe he on foldan fremaþ to ryhte. (source)

[I am a blessing-book; may the Lord protect him
who covered me thus fairly with treasures.
Thus Thureth gratefully commanded me to be made,
with glory and honour for him who created light.
Mindful is he of each craft
that he is allowed to perform on earth,
and may the ruler of peoples reward him
that he, mindful of many treasures,
wants to mark (me) as an offering to the Lord
and he must find eternal reward for everything
that he justfully does on Earth.] (Translation mine)

Judging by drawn lines at the bottom of the poem, and the attempt to wrap the last part of the text into it, the scribe made an unsuccesful attempt to make his text triangular:

Sources of inspiration: Arabic? Mediterranean?

The practice of writing triangularly is not unique to early medieval England. When I tweeted the triangular pages from Royal MS 8 C.iii back in 2017, historian of medieval islam @afzaque pointed out that triangle-shaped texts were standard practice for colophons (i.e. a brief statement about how the book came into being) in medieval Arabic manuscripts. Indeed, it is quite easy to find triangle-shaped colophons in medieval Arabic manuscripts; here are two late medieval examples:

Triangular colophons in al-Tuḥfah al-shāhīyah fī al-hayʾah التحفة الشاهية في الهيئة Quṭb al-Dīn al-Shīrāzī, Maḥmūd ibn Masʿūd قطب الدين الشيرازي، محمود بن مسعود ‎2r, British Library: Oriental Manuscripts, Add MS 23393, in Qatar Digital Library https://www.qdl.qa/archive/81055/vdc_100023492342.0x00000f; Kitab Jālīnūs fī ‘amal al-tashrīḥ كتاب جالينوس في عمل التشريح ‎17v, British Library: Oriental Manuscripts, Add MS 23406, in Qatar Digital Library https://www.qdl.qa/archive/81055/vdc_100023513958.0x00002e

The Arabic colophon tradition has been traced back to the ninth century or so (see this article), so it may well have influenced the shape of Thureth, which is also a colophon-like text. It certainly would not be the only instance of Arabic influence in Anglo-Saxon England – see this interesting blog post on multicultural Anglo-Saxon England from the British Library. Of course, the idea of a triangular text does not need to have been borrowed from somewhere else and for Boniface’s triangles at least, the Arabic tradition seems too late.

A quick Twitter search reveals a broader early medieval tradition of tiangular texts. The book historian @ParvaVox here suggests that triangular colophons are typical of books from the Italian monastery Vivarium, founded in the 6th century. Another book historian on Twitter, @jkeskiah here highlights a 6th-century Italian manuscript with triangular annotations by Donatus similar to those added by Boniface. Intriguingly, in the 8th century, another hand added a (non-triangular) note to the manuscript, using an Anglo-Saxon script.

Now, this 8th-century note was probably not added by Boniface himself – the script does not quite match his handwriting, which is hard to identify anyway (see this article by Malcolm Parkes), but perhaps this was someone from Boniface’s circle, one of his companions who travelled with him to Rome, where the manuscript appears to have been? Did a fellow Anglo-Saxon show him the manuscript with Donatus’s triangular notes and, in doing so, inspire Boniface? Who knows? To be continued!

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Addendum: Twitter user @IneptiGraeculi notes that similar triangular texts can be found in Greek manuscripts