Matthew Paris - Manuscripts By Matthew Paris

Manuscripts By Matthew Paris

Paris's manuscripts mostly contain more than one text, and often begin with a rather random assortment of prefatory full-page miniatures. Some have survived incomplete, and the various elements now bound together may not have been intended to be so by Paris. Unless stated otherwise, all were given by Paris to his monastery (from some inscriptions it seems they were regarded as his property to dispose of). The monastic libraries were broken up at the Dissolution. These MS seem to have been appreciated, and were quickly collected by bibliophiles.

• Chronica Majora Corpus Christi College, Cambridge Ms 26, 16, 362 x 244/248 mm. ff 141 + 281, 1240-53. His major historical work (see below), but less heavily illustrated per page than others. The first two volumes are in Cambridge, whilst the third is bound with the Historia Anglorum in the British Library volume below. There are 100 marginal drawings (25 + 75), some fragmentary maps and an itinerary, and full-page drawings of William I and the Elephant with Keeper. MS 16 has very recently had all prefatory matter removed in a rebinding. Most of the text of the Chronica in MS 26 is not in Paris's hand.

• Life of St Alban etc., dating controversial (1230–1250), Trinity College, Dublin Library, Ms E.I.40. 77 ff with 54 miniatures, mostly half-page. 240 x 165 mm. Also contains a Life of St Amphibalus, and various other works relating to the history of St Albans Abbey, both also illustrated. The Life of St Alban is in French verse, adapted from a Latin source. The manuscript also contains notes in Paris's hand (see above) showing that his manuscripts were lent to various aristocratic ladies for periods, and that he probably acted as an intermediary between commissioners of manuscripts and the (probably) lay artists who produced them, advising on the calendars and iconography.

• Abbreviatio chronicorum (or Historia minor), another shortened history, mainly covering 1067 to 1253, including a Map of Great Britain, 1255-9 (probably his final work), British Library Cotton MS Claudius D.vi. Illustrated with thirty-three seated figures of English kings' illustrating a genealogy.

• Historia Anglorum 1250-9 British Library MS Royal 14.C.VII, 358 x 250 mm, ff 232, also the last volume of the Chronica Majora, and various other items, including maps of the Holy Land and the British Isles, an itinerary from London to Apulia, a full-page Virgin and Child with Matthew Paris kneeling before them (illustration above, his most monumental work), and a genealogy of the Kings of England with seated portraits. The Historia Anglorum has 32 marginal drawings, rather more sketchy than in the earlier volumes. There is a portrait of Paris on his death-bed, presumably not by him. By the 15th century this volume belonged to Humphrey, Duke of Gloucester, son of Henry IV, who inscribed it "Ceste livre est a moy Homffrey Duc de Gloucestre". Later it was held by the bishop of Lincoln, who wrote a note that if the monks of St Albans could prove the book was a loan, they should have it back. Otherwise it was bequeathed to New College, Oxford. The fact that the book was acquired by a 16th-century Earl of Arundel suggests that Duke Humphrey's inscription was not entirely accurate, as New College would probably not have disposed of it.

• Book of Additions (Liber additamentorum) British Library Cotton MS Nero D I, ff202 in all, contains maps, Vitae duorum Offarum (illustrated), Gesta abbatum, the lives of the first 23 abbots of St Albans with a miniature portrait of each, coats of arms, as well as copies of original documents. A version of his well-known drawing of an elephant is in this volume, as is a large drawing of Christ, not by Paris.

• The Life of King Edward the Confessor 1230s or 40s, Cambridge University Library MS. Ee.3.59. This is the only surviving copy of this work, but is believed to be a slightly later copy made in London, probably by court artists, of Paris's text and framed illustrations.

• Flores Historiarum Chetham's Hospital and Library, Manchester. MS 6712. Only part of the text, covering 1241 to 1249, is written by Paris. Additional interpolations to the text make it clear the volume was created for Westminster Abbey. It was apparently started there, copying another MS of Paris's text that went up to 1240. Later it was sent back to the author for him to update; Vaughan argues this was in 1251-2. The illustrations are similar to Paris's style but not by him. Later additions took the chronicle up to 1327.

• Flores Historiarum Huntington Library, Berkeley, California, HM 30319 - Not by Paris, a 15th century Ms of the Chronicle he continued, before starting his own. Not heavily illuminated.

• (Attributed to Paris by Janet Backhouse, but not by Nigel Morgan) The Becket Leaves- The four surviving leaves from a French-verse history of the life of Thomas Becket with large illuminations, British Library

• Liber Experimentarius of Bernardus Silvestris, and other fortune-telling tracts. Bodleian Library, Oxford, Ms. Ashmole 304, 176 x 128 mm, ff72. Many illustrations: author portraits (many of ancient Greeks – Socrates, Plato, Euclid, Pythagoras), birds, tables and diagrams of geomantic significance. Several later copies of the text and illustrations survive. Provenance before 1602 unknown.

• Miscellaneous writings by John of Wallingford (the Younger), British Library, MS Cotton Julius D.VII, 188 x 130mm, ff 134. 1247-58. Mostly scribed by John of Wallingford, another monk of St Albans, who also probably did some drawings. A portrait of John, a map of the British Isles, and a Christ in Majesty are all accepted as by Paris. The main text is a chronicle, highly derivative of Paris's. This was John's property, left to his final monastery at Wymondham.

Also, Latin biographies of Stephen Langton and Edmund Rich, and a verse biography of Rich. Various other works, especially maps.

A panel painting on oak of St Peter, the only surviving part of a tabernacle shrine (1850 x 750 mm), in the Museum of Oslo University has been attributed to Paris, presumably dating from his visit in 1248. Local paintings are usually on pine, so he may have brought this with him, or sent it later.