13th Century-style Manuscript Copy of the Ad instructionem iuniorem of Simon de Hinton

Magistra Nicolaa de Bracton

The project

In 1999, I completed my PhD thesis--a critical edition of a 13th century Dominican basic theology text by Simon de Hinton known from its incipit (first words) as Ad instructionem iuniorem (For the Instruction of juniors)  It is thought that this text was originally used by Dominicans looking to obtain their license to preach.  The contents focus on practical theology regarding the Credo, the Lord's Prayer, the Sacraments, the Beatitudes, the Virtues, the Gifts of the Holy Spirit, and the Vices.  The manuscript had a remarkably long life, circulating until into the 16th century and even being printed (in a somewhat mutated version) in the early 18th century.  There are 56 extant manuscripts, and during its life the text seemed to have evolved away from a text with a specific purpose to a more general one as sort of a quick guide to practical theology. Later copies become increasingly ideosyncratic. My PhD work focused on creating a critical edition--in this case, an attempt to establish what the original most likely looked like--based on four of the thirty manuscripts I viewed.

When one completes one's PhD work, a bound copy is prepared for the archives of the university granting the degree.  It was in ordering this copy that I first had the idea:  I had, essentially, produced the 57th copy of this work.  Wouldn't it be wonderful to produce that copy in a truly medieval manner--copied by hand, as a 13th century scholar or stationer might have done?

It took me sixteen years to realize this dream.  I have been practicing calligraphy for about 20 years.  Utilitarian works, such as charters, have always been a favourite, and having studied Latin palaeography, I had been always eager to use the abbreviations I learned to read as part of my research.  The Midrealm's Calf to Codex project was my inspiration (I contributed a small piece to this work, and in doing so saw the amazing things being done).

The proposal that was accepted was to copy the Ad instructionem iuniorem by hand.  The bulk of the work would be done using modern substitutes for period materials – vegetable parchment paper (Fabriano Pergamon), Windsor and Newton India ink, and metal Brause nibs.  However, the opening gathering would then be recopied onto manuscript vellum using hand cut quills and oak gall ink (both made by me).  The final book would be bound with a limp binding.

Layout and Script

I wanted this manuscript to replicate the look on the page of a 13^th century scholarly text.  These books were meant for regular use by students, rather than as luxury items.  Therefore, the illumination in these books is normally minimal, and the text itself is often highly abbreviated to both save on costs and time needed to produce such a manuscript.  While I did not have any images of the manuscripts I had originally viewed during my initial research over 20 years ago, I did have access (thanks to the British Library) to similar theological treatises.  The two-column layout I selected for the work is typical of these books in the 13^th century.

Harley MS 3244, f19r[1]

BL Harley MS 524 Theological tracts f 23v

A Rus' Coronation Ceremony

Magistra Nicolaa de Bracton

When Siegfried and Xristina became Prince and Princess of Ealdormere, I was presented with an opportunity to put together a Rus' coronation ceremony.  I have been writing ceremonies for about twenty years now, starting with my own Laurel elevation ceremony.  The majority have been Peerage ceremonies, which present certain challenges, particularly a very limited (both in time period and in culture) pool of period exemplars to adapt. Peerage ceremonies often become a process of extrapolation based on other sources, such as guild statutes, written documents detailing rights or procedures for groups of people or individuals, literary descriptions, or descriptions of ceremonies meant for groups of people (such as church liturgy or civic processionals), in combination with SCA traditions. 

The situation is different for coronations.  We actually have information on quite a number of extant period coronation liturgies for a number of cultures thanks to R.W. Wooley's Coronation Rites, published in 1915 as part of the Cambridge Handbooks of Liturgical Study.  This series was concerned with the study of Christian liturgy, and this brings forward the first issue for anyone seeking to use and understand historical coronation ceremonies for SCA use: These were profoundly Christian rites.  Indeed, kingship was widely considered an eighth Holy Order in the western Church, and many of the rituals and meaning in these ceremonies are intimately connected to the Christian foundations of medieval society.   This presents two dilemmas for the SCA ceremonialist: First, how to alter the religious portions of the ceremony to keep some of the meaning but without explicit reference to Christianity; but almost as important, how to explain to those witnessing the underlying concepts which would have been implicitly understood in medieval society.

In the case at hand, Siegfried and Xristina were specifically looking for an appanage Rus' ceremony.  Wooley's work contains descriptions of Byzantine imperial ceremonies and later Russian ceremonies; there is a clear line of descent from the former to the latter.  However, this would be the coronation not of a Tsar or an Emperor, but of a Prince.  We settled on basing the approach on the institutions of Novgorod in the 13th century.  Novgorod was generally recognized as the second most important city in Kievan Rus' and was often ruled by the eldest son of the Prince of Kiev. At the same time, day-to-day government was provided by the veche (public assembly), who elected a posadnik (mayor), tysyatsky (head of the militia) and even archbishops from the ranks of the boyars.  By the twelfth century, the power of the princes was starting to decline and the veche began to take a more pronounced rule in inviting a Prince to rule the city and tightly dictating what he could and could not do through a document called a ra'd. The Prince's role remained important, however, as a military commander and the ultimate judicial and legal authority.[1] 

16th Century Style Arrows

Magistra Nicolaa de Bracton

I have been fletching my own arrows for several years. Up until recently, I had not attempted to give my arrows a more authentic look and feel. However, the acquisition of a hickory traditional longbow and the desire to participate in the period archery shoot at Pennsic, in which all equipment must be as authentic as possible, spurred a project to create a set of more authentic-style arrows.

Shafts

According to Roger Ascham in Toxophilus or The Schole of Shooting, dated to 1545, the best woods for arrows include birch, hardbearm, oak, and ash.

Ffor some wood belonges to ye excedyng part, some to ye scant part, some to ye meane, as Brafell, Turkiewood, Fuflicke, Sugar chefle, and such lyke, make deade, heuy lumpish, hobblyng shaftes. Againe Hulder, black thorne, Serues tree, Beche, Elder, Aspe, and Salowe, eyther for theyr wekenes or lyghtenesse, make holow, starting, sludding, gaddynge shaftes. But Birche, Hardbeme, some Ooke, and fome Affhe, beynge bothe stronge ynoughe to stande in a bowe, and alfo lyght ynoughe to flye far, are best for a meane, whiche is to be foughte oute in euery thinge.[1]

 He also states that the wood should be well seasoned and must be “as the grain lyeth” or it will not fly cleanly.[2] Actual shafts from the war arrows found on the Mary Rose were constructed of a number of hardwoods, with aspen (despite Ascham’s dismissal of it as too light) and poplar being most common.[3]  Lengths generally ranged from 29”-31” in length, which may sound relatively short until one realizes these were used with bows that might well have a draw weight of over 100 lbs.  Diameter of these arrows could range from 1/2" to 3/8” and were often significantly tapered from nock to shoulder. 

Arrows from the Mary Rose, as found and modern replicas.   From the Mary Rose museum website, http://www.maryrose.org/meet-the-crew/soldiers-and-gunners/archery/

In comparison, my longbow has a draw weight of 35 lbs and I generally use 5/16” shafting.  The shafts of these arrows are commercially manufactured of Port Orford cedar.  The shafts were sealed with two coats of tung oil.

Romanesque Bookbinding Project

Magistra Nicolaa de Bracton

The project

In 1999, I completed my PhD thesis--a critical edition of a 13th century Dominican basic theology text by Simon de Hinton known from its incipit (first words) as Ad instructionem iuniorem (For the Instruction of juniors)  It is thought that this text was originally used by Dominicans looking to obtain their license to preach.  The contents focus on practical theology regarding the Credo, the Lord's Prayer, the Sacraments, the Beatitudes, the Virtues, the Gifts of the Holy Spirit, and the Vices.  The manuscript had a remarkably long life, circulating until into the 16th century and even being printed (in a somewhat mutated version) in the early 18th century.  There are 56 extant manuscripts, and during its life the text seemed to have evolved away from a text with a specific purpose to a more general one as sort of a quick guide to practical theology. Later copies become increasingly ideosyncratic. My PhD work focused on creating a critical edition--in this case, an attempt to establish what the original most likely looked like--based on four of the thirty manuscripts I viewed.

When one completes one's PhD work, a bound copy is prepared for the archives of the university granting the degree.  It was in ordering this copy that I first had the idea:  I had, essentially, produced the 57th copy of this work.  Wouldn't it be wonderful to produce that copy in a truly medieval manner--copied by hand, as a 13th century scholar or stationer might have done?

It took me sixteen years to realize this dream.  I have been practicing calligraphy for about 20 years.  Utilitarian works, such as charters, have always been a favourite, and having studied Latin palaeography, I had been always eager to use the abbreviations I learned to read as part of my research.  The Midrealm's Calf to Codex project was my inspiration (I contributed a small piece to this work, and in doing so saw the amazing things being done).

The proposal that was accepted was to copy the Ad instructionem iuniorem by hand.  The bulk of the work would be done using modern substitutes for period materials -- pergamenata, Windsor and Newton India ink, and metal Brause nibs.  However, the opening gathering would then be recopied onto manuscript vellum using hand cut quills and oak gall ink (both made by me).  The original plan was that the book would be bound with a limp binding.

I completed the copying of the text in May, 2016 and was now ready for binding.