harley 4431

 

The Making of the Queen's Manuscript

The Making of the Queen's Manuscript focuses on London, British Library, Harley MS 4431, the largest surviving collected manuscript of the works of Christine de Pizan (1365-ca1431). Commissioned by Queen Isabel of France, the collection was planned, copied, decorated and corrected under Christine's direct supervision, before being presented to Queen Isabel early in 1414. This research programme has been funded by an Arts and Humanities Research Council grant of £199,716 over the five years from 1 October 2004 to 31 October 2009, and is being carried out in partnership with the British Library which has contributed a complete set of high-resolution digital images of Harley MS 4431.

 

 

 

 

About the Research Project

The project is located in the University of Edinburgh, in both the French section of the School of Literatures, Languages and Cultures, and in the Special Collections department of Edinburgh University Library (EUL). 

The Project Director is Professor James Laidlaw. Dr Andrew Grout, Special Collections Digital Library Officer, is Project Officer. The Research Associate is Dr Charles Mansfield. Dr Justin Clegg, Curator of Medieval Literary Manuscripts, is the Project Officer for the British Library.

  

  

Resources

The work was to help future researchers by making all the resources easily accessible. Below are the editions which have been through the following process: transcription, checking, encoding, transforming, printing as PDFs 

  

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Aims of the Research on the Medieval Manuscript

The preparation of a collected manuscript involved a range of operations which required careful co-ordination. Research on Harley 4431 (e.g. J. C. Laidlaw, Modern Language Review, 82 (1987), 35-75) has shown that Christine encountered problems, even though by 1413 she had become an experienced publisher: insufficient room was left for some rubrics; there is inelegant blank space between certain works; the contents have been adjusted, leaves being added to quire 6 and deleted from quire 34. Variations in the colour of the ink or changes of hand suggest that operations were sometimes interrupted until Christine supplied further material.


The second section of the manuscript, containing the Epistre Othéa, has provoked debate. Sandra Hindman (British Library Journal, 9 (1983), 93-123) has argued that, because the outer margins of the leaves have been widened by scarfing, the copy of the Epistre Othéa was prepared as an independent codex, and was later enlarged to match the format of the other seven sections. However, there is evidence that some folios of the Othéa have not been enlarged and that many folios in other sections have also been scarfed.


Description of the Harley 4431 Middle French Manuscript

The object of the description is to determine how the manuscript was planned and prepared: on which of the earlier presentation manuscript(s) it was based; the order of operations; how the plan changed as work progressed; how many scribes and artists were involved and what were their roles; the arrangements for 'proof-reading', correcting, and assembling the eight sections before the codex was bound. A comprehensive description of the parchment will indicate how consistent are the ruling, lay-out and written area throughout the manuscript, and the extent of repairs.


Transcription of Harley 4431 and Software

The transcription has a dual aim: to interpret and complement the digital images for presentation on the project's website, and to create the corpus from which the concordance and glossary will be made. The software to be employed in encoding the text was developed by Dr Robert Sanderson of the University of Liverpool for his electronic edition of a manuscript of Froissart's Chronicles, linking digital images and transcribed text. The program is extremely flexible: images, transcription and annotations can be presented separately or in conjunction, as the viewer chooses. A range of options makes it possible to customize the transcription, e.g. by leaving abbreviations unexpanded, by showing only scribal punctuation, or by presenting an edited text which follows modern, scholarly conventions. The Sanderson software has provided a firm platform for work on Harley 4431; it has been developed to take account of the particular needs identified by the research team.


Decoration

Previously published descriptions of the decoration of Harley 4431 centre on the miniatures, much less attention being paid to the secondary elements (borders, initials and paragraph marks). Account will be taken of all the decorative components, the better to understand how the decorative programme was conceived and executed.


Language

The concordance of Harley 4431 and the Christine de Pizan Database provide invaluable data for research on Christine's lexis and morpho-syntax. For comparative purposes reference will be made to the works of Christine's near contemporaries, Eustache Deschamps (ca.1340-1404) and Alain Chartier (ca.1385-1 430), to which the team have access in electronic form.


Scribal Hands and Orthography

Gilbert Ouy and Christine Reno have argued that Scribe X, who copied much of Harley 4431, is to be identified with Christine de Pizan herself: Scriptorium, 34 (1980), 221-38. Parussa and Laidlaw take a different view: Epistre Othea, Geneva, 1999; Christine de Pizan: a Casebook, New York and London, 2003, 231-49. Ouy and Reno, and Parussa have highlighted the importance of spelling preferences in characterising Christine's scribes: Revue des langues romanes, 92 (1988), 265-86; Romania, 117 (1999), 143-59.


Christine de Pizan: 

Life, Work, Legacy 


In this new biography, the first written for a general audience, Charlotte Cooper-Davis discusses the life and work of a pioneering female thinker and writer. She shows how Christine’s inspiration came from the world around her, situates Christine as an entrepreneur within the context of her times and place, and finally examines Christine’s influence on the most avant-garde of feminist artists, through which she is slowly making a return into mainstream popular culture