An integrated re-examination of the dating of Oxford, Bodleian Library, Junius 11

Anglo-Saxon England

Volumn 31, Issue , 2002, Pages 141-173

  Lockett, Leslie ^a  

^a UNIVERSITY OF NOTRE DAME   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949816545     PISSN: 14740532     EISSN: 14740532     Source Type: Journal    
DOI: 10.1017/S0263675102000066     Document Type: Review

References (61)

1. On changes in the preparation and layout of parchment pages, see N. R. Ker, Catalogue of Manuscripts Containing Anglo-Saxon (Oxford, 1957), pp. xxiii-xxv
2. On trends in decorated initials, see F. Wormald, 'Decorated Initials in English Manuscripts from A.D. 900 to 1100', Archaeologia 91 (1945), 107-35
3. repr. in Studies in Medieval Art from the Sixth to the Twelfth Centuries, ed. J. J. G. Alexander, T. J. Brown and J. Gibbs (Oxford, 1984), pp. 47-75
4. see also R. Gameson, 'The Decoration of the Tanner Bede', ASE 21 (1992), 115-59, at 116-28
5. On stylistic changes in tenth-century manuscript art, see R. Deshman, 'The Leofric Missal and Tenth-Century English Art', ASE 6 (1977), 145-73
6. On the use of colour in tenth-century manuscript art, see J. J. G. Alexander, 'Some Aesthetic Principles in the Use of Colour in Anglo-Saxon Art', ASE 4 (1975), 145-54
7. D. N. Dumville has published a number of studies on Square and Anglo-Caroline minuscule script: 'English Square Minuscule Script: the Background and Earliest Phases', ASE 16 (1987), 147-79
8. 'English Square Minuscule Script: the Mid-Century Phases', ASE 23 (1994), 133-64
9. 'Beowulf Come Lately: Some Notes on the Palaeography of the Nowell Codex', ASNSL 225 (1988), 49-63
10. On methods of punctuation in later Anglo-Saxon verse manuscripts, see K. O'Brien O'Keeffe, Visible Song: Transitional Literacy in Old English Verse, CSASE 4 (Cambridge, 1990)
11. will be cited as Temple; Facsimiles of Ancient Charters in the British Museum, ed. E. A. Bond, 4 vols. (London, 1873-8) will be cited as BM Facs
12. and Ker, Catalogue, no. 334 (pp. 406-8)
13. see also C. E. Karkov, Text and Picture in Anglo-Saxon England: Narrative Strategies in the Junius 11 Manuscript, CSASE 31 (Cambridge, 2001), 1-3 and 19-44, including valuable bibliography of previous scholarship
14. B. C. Raw, 'The Construction of Oxford, Bodleian Library, Junius 11', ASE 13 (1984), 187-205
15. and P. J. Lucas, 'MS Junius 11 and Malmesbury', Scriptorium 34 (1980), 197-220 and 35 (1981), 3-22
16. and in Karkov, Text and Picture. Large-scale digitized images of the entire manuscript have been provided by the Early Manuscripts Imaging Project at Oxford University and are visible online at http://image.ox.ac.uk/show? collection=bodleian&manuscript=msjunius11
17. D. N. Dumville, 'On the Dating of some Late Anglo-Saxon Liturgical Manuscripts', Trans. of the Cambridge Bibliographical Soc. 10 (1991-5), 40-57, at 43 and 48
18. Ker, Catalogue, p. xxiv
19. Dumville, 'Background and Earliest Phases', p. 155
20. Raw, 'Construction', p. 195
21. T. A. M. Bishop, 'Notes on Cambridge Manuscripts', Trans. of the Cambridge Bibliographical Soc. 2 (1954-8), 323-36; 3 (1959-63), 93-5 and 412-13 [pts 4-6]
22. Dumville, 'Mid-Century Phases', p. 142
23. Wormald, 'Decorated Initials', pp. 50-62 and 72-5. Most of the initials treated by Wormald are illustrated in Temple, especially cat. nos. 19 (Type IIa) and 30 (Type IIb). Type I initials do not receive a separate catalogue entry but are found throughout
24. On the Ringerike qualities of these designs, see T. D. Kendrick, Late Saxon and Viking Art (London, 1949), pp. 104-5
25. D. Talbot Rice, English Art, 871-1100 (Oxford, 1952), p. 129
26. D. M. Wilson and O. Klindt-Jensen, Viking Art (Ithaca, NY, 1966), p. 141
27. and W. Holmqvist, 'Viking Art in the Eleventh Century', Acta Archaeologica 22 (1951), 1-56 passim
28. and S. H. Fuglesang, 'Stylistic Groups in Late Viking and Early Romanesque Art', Acta ad Archaeologiam et Artium Historiam Pertinentia 1 (1981), 79-125, esp. 80-90
29. Lucas, 'MS Junius 11 and Malmesbury', p. 206)
30. Kendrick, Late Saxon, p. 105
31. Fuglesang, 'Stylistic Groups', p. 89; cf. idem, Some Aspects of the Ringerike Style, pp. 72-4
32. Fuglesang, 'The Relationship Between Scandinavian and English Art', p. 228
33. cf. idem, Some Aspects of the Ringerike Style, p. 72
34. Raw, 'Probable Derivation', p. 134
35. K. Kiernan, Beowulf and the Beowulf Manuscript, rev. ed. (Ann Arbor, MI, 1996), p. 15
36. For the illustration of Ps. CIII, see Temple, ill. 205, and Ohlgren, Anglo-Saxon Textual Illustration, p. 211
37. Deshman, 'Leofric Missal', pp. 148-58
38. Wormald, English Drawings, p. 40
39. To view all the illustrations of both artists in colour, go to http://image.ox.ac.uk/show?collection=bodleian&manuscript=msjunius11
40. see also Dumville, 'Beowulf Come Lately', p. 51)
41. One pronounced example appears at p. 1, line 18, in the word noldan. For this and subsequent examples of letter-forms, I recommend viewing the digitized images at http://image.ox.ac.uk/show?collection=bodleian&manuscript= msjunius11
42. See S. Keynes, Anglo-Saxon Manuscripts and Other Items of Related Interest in the Library of Trinity College, Cambridge, 3rd ed. (Binghamton, NY, 1992), p. 16 and pl. VI, and Temple, ill. 79-80
43. see also Ker, Catalogue, no. 116 (p. 153)
44. Keynes, Anglo-Saxon Manuscripts, p. 14 and pls. Va and Vb
45. The tenth- and early-eleventh-century manuscripts which I have examined do not suggest a chronological change in the use of open or closed g over the course of this period; manuscripts of both halves of the century are split nearly evenly between open and closed g. For Dumville's discussion of these manuscripts, see 'Background and Earliest Phases', pp. 173-4
46. and 'Mid-Century Phases', pp. 136-44
47. Scribe 2 of the Blickling Homilies displays this trait, as at 86v, line 5, where it is followed by a Caroline-influenced a; see the facsimile, The Blickling Homilies, ed. R. Willard, EEMF 10 (Copenhagen, 1960)
48. One notable example is the Vercelli Book, 11r, where one can see long, curve-limbed y, both with and without dot; long, straight-limbed y, both with and without dot; and f-shaped y; on 24r the same scribe uses a modification of the long, straight-limbed y with dot, in which the descending limb is gently curved upward (see the facsimile, The Vercelli Book, ed. Celia Sisam, EEMF 19 (Copenhagen, 1976))
49. See Willard, The Blickling Homilies, pp. 31 and 36
50. CCCC 173 illustrates the various stages of compression. The hand on 17r writes with proportions just slightly narrower than square; on 22v is a hand with thoroughly square dimensions; the scribe who begins on 26r uses the 'decorative' phase of Square minuscule, elongating his ascenders and descenders but not compressing the bodies of the letters; this is followed on 28r by a hand which is not 'decorative' and retains square proportions; the hand which begins on 28v, executed during the period 1001 × 1013, is altogether smaller and narrower, and the slender proportions are accentuated by the elongated ascenders and descenders, particularly o; see complete facsimile in The Parker Chronicle and Laws, ed. R. Flower and H. Smith, EETS os 208 (London, 1941)
51. O'Brien O'Keeffe's assessment of the Junius punctuation differs from that of M. B. Parkes, who writes that 'Much of the punctuation was inserted after the text was copied' and claims that the majority of points coincide with sense units but only 'seem to demarcate metrical units identified by modern analysis' (Pause and Effect: an Introduction to the History of Punctuation in the West (Berkeley and Los Angeles, CA, 1993), p. 111)
52. Ker, Catalogue, no. 394 (pp. 153 and 460)
53. Dumville, 'Beowulf Come Lately', passim
54. and M. Lapidge, 'The Archetype of Beowulf', ASE 29 (2000), 5-41, at 7-8
55. O'Brien O'Keeffe, Visible Song, pp. 163, 166-71 and 175-9
56. Lucas, Exodus, pp. 21-2
57. Parkes, Pause and Effect, discusses the possible influence of Psalter punctuation and layout on the presentation of vernacular verse (p. 104)
58. The edition of K. Zangemeister and W. Braune is extremely helpful and is accompanied by a facsimile and extensive commentary (Bruchstücke der altsächsischen Bibeldichtung aus der Bibliotheca Palatina (Heidelberg, 1894))
59. Doane, Saxon Genesis, pp. 232-52
60. Munich, Bayerische Staatsbibliothek, Cgm. 25. For illustrations of small passages of this manuscript, see J. Rathofer, 'Zum Aufbau des Heliand', ZDA 93 (1964), 239-72, which includes pls. at pp. 254-5
61. For discussion of this and other Heliand manuscripts, including the Vatican fragment, see B. Bischoff, 'Paläographische Fragen deutscher Denkmäler der Karolingerzeit', FS 5 (1971), 101-34, at 127-9