Whose Runes are These? I (Don’t) Think I Know

In the mid-twelfth century, a stoneworker in the far northwest of England at Bridekirk, Cumbria cut a lavishly-decorated baptismal font with reliefs of dragons, mysterious figures, and, curiously, a line of runic writing. By the early modern period, the characters on the Bridekirk font were nothing but strange. Early English historian and chronographer William Camden, who included a sketch of the runic inscription in the 1607 edition of his Britannia, declared himself perplexed: “Quid autem illae velint, et cuius gentis characteribus, ego minime video, statuant eruditi.”[1]

The east face of the Bridekirk font, by permission of Lionel Wall. 

First published in 1586, Camden’s massive historico-chronographical Britannia went through six editions in the author’s lifetime, and Camden continually updated and expanded the text, augmenting it with maps and diagrams, such as the rendition of the Bridekirk runes seen below. The last Britannia edition on which Camden collaborated was a 1610 English translation by Philemon Holland, who translates: “But what they signifie, or what nations characters they should be, I know not, let the learned determine thereof.” Camden’s uncertainties cut straight to the heart of the matter: whose runes are these? and what do they mean?

The Bridekirk runes as pictured in the 1607 edition of Britannia. Courtesy of Dana Sutton.

In the more than 400 years that have passed since the publication of Camden’s Britannia and despite the best efforts of the eruditi, no simple answer has been found to either of Camden’s questions, the first of which I’ll consider in today’s post. Whose runes are these?

Danish antiquarian Ole Worm learned of the inscription from the Britannia and included his own version of the runes in a 1634 letter to one Henry Spelman:


Translation:
But if a well-printed text of the monuments inscribed with our characters that exist [in England] is sent to me, they would make up the much-desired appendix to those from our country. As far as the one Camden shows us in his book Britannia, I hardly know whether it can be read: [RUNES] That is, as I interpret it according to the laws of our language: “Harald made [this] mound and set up stones in the memory of [his] mother and Mabrok.” But I claim nothing as certain until someone can supply us with a more accurate description.[2]
Leaving aside Worm’s wildly inaccurate translation, which he based off of the second-hand evidence of Camden’s printed transcription, I’d like to note that Worm seems to claim the Bridekirk runes among the monumentorum nostris notis consignatorum (monuments signed with our script): he counts these as Scandinavian runes.

At other times the inscription has been claimed as English. The description of the Bridekirk font in Charles Macfarlane’s Comprehensive History of England, first published in 1856, praises the “ingenuity of design and execution” of the font and notes its “Saxon inscription.”[3] 

The font as pictured in Macfarlane’s History. 

Modern scholars agree with Worm that the incised characters are, in the main, Scandinavian. But the inscription is not wholly so: the text employs a few non-runic, decidedly English characters, including ⁊, Ȝ, and a bookhand Ƿ. Moreover, the language is not the Norse one might expect from Scandinavian runes but rather English:

Ricard he me iwrokte to þis merð ʒer ** me brokte.[4]
Richard crafted me and brought me (eagerly?) to this splendor.

So if the runic inscription is neither fully Norse nor fully English, whose runes (cuius gentis) are they? While Charles Macfarlane claimed them as “Saxon” and Worm counted them as Scandinavian, the runes are actually neither but rather the product of a mixed society continuing to encode both English and Norse cultural practices on stone. Most literally the runes represent phonological values and a particular message, but for most of the font’s history the place of these symbols in cultural memory – whose runes they have become – has been just as important as what they originally meant. The cultural equivocality of the Bridekirk inscription is emblematic of larger ambiguities involving Anglo-Scandinavian ethnicity and culture as imagined by the post-Hastings medieval English. These ambiguous cultural signs, later re-imagined in the early modern period, raise the question of what it meant to be Anglo-Norse in an Anglo-Norman world.

Rebecca West, PhD Candidate
University of Notre Dame

[1] William Camden, “William Camden, Britannia (1607) with an English Translation by Philemon Holland: A Hypertext Critical Edition,” ed. Dana F. Sutton (The Philological Museum, 2004), Descriptio Angliae et Walliae: Cumberland, 7.

[2] Ole Worm, Olai Wormii et ad eum doctorum virorum epistolæ, vol. 1 (Copenhagen, 1751), Letter 431. This translation is my own.

[3] Charles MacFarlane, The Comprehensive History of England :Civil and Military, Religious, Intellectual, and Social : From the Earliest Period to the Suppression of the Sepoy Revolt, Rev. ed. (London, 1861), 164.

[4] The transliteration above is based on that of Page, who reads “+Ricarþ he me iwrocte / and to þis merð (?) me brocte.” R. I. Page, Runes (University of California Press, 1987), 54.

We Were Here First: a Medievalist’s View of the Reformation

The 500th Anniversary of the Reformation in 2017 produced celebratory lectures, books and ecumenical services worldwide, but Medievalists, those whose job it is to know what the Reformation was reformed from, were mostly not on the radar.[1] This is nothing new, alas: the name “Early Modern” itself implies, or rather, insists that not much could have happened or been invented before “Early.”  Our irrelevance dates back at least to 1905 when Weber published Die protestantische Ethik und der Geist des Kapitalismus (The Protestant Ethic and the Spirit of Capitalism).  As Yale’ s Reformation historian, Carlos Eire, noted in his celebratory 2017 lecture:

Over one hundred years ago, Max Weber argued that Protestantism “disenchanted” the world and eliminated “magic” from it. Today, as we celebrate the 500th anniversary of the Protestant Reformation, … this assertion needs to be reappraised. Did Protestants really vanquish “magic,” and, if so, what was that “magic,” exactly, or the “disenchantment” that accompanied its demise? Exploring the various ways in which Protestantism redefined the sacred might…allow us to appreciate more fully what the Protestant Reformation bequeathed to the world.[2]

Eire’s clarion call to discover how Protestantism redefined the sacred is refreshing, but, as he notes, the ghost of Weber remains a stumbling block, leaving Protestantism misunderstood. So, too, I would add, his ghostly presence leaves the Middle Ages misunderstood, and underestimated, too.  Our period is the “enchanted” world that Protestants allegedly lost, like Adam and Eve all over again,  just a placeholder in someone else’s historiography. So, since these misconceptions are costly for mutual understanding and in shrinking market shares of the Humanities, let’s take a moment to remember what the Medieval era bequeathed the Reformation, and how heavily Luther and all who came after depended on it.

A 1617 broadside on the centenary of the German Reformation, “Göttlicher Schrifftmessiger…,” showing Luther’s posting of the 95 Theses in Wittenberg. His over-sized pen knocks off the tiara of Pope Leo X. 

Weber had argued that the “ascetic” strand in Protestant ethics was a major factor in the rise of Western capitalism, and that the “disenchantment”(Entzauberung) so evident in Modernity stemmed originally from a devaluation of mysticism, “magic” and other (supposedly) pre-Modern worldviews.  For Weber, “disenchantment” grew out of mental habits of “rationalization,” which, along with burgeoning bureaucracy and valorization of the scientific, contributed to modern secularism. Little did Weber know that the Middle Ages were rife with their own forms of rationalization, bureaucracy, and secularism (scholasticism, laicization of the civil service, and disillusionment with clerical corruption and schism). In contrast, for traditional societies, Weber argued, “the world remains a great enchanted garden”.[3]

Mercifully, Weber’s patronizing vision is mostly behind us, but not far enough. Eire argues, rightly I think, that types of “enchantment” survived on both sides of the Reformation Protestant-Catholic divide, with different emphases in each religious culture, and, I’d stress, different aesthetics: e.g. Protestant painters like Rembrandt painted less medieval iconography, but experimented with inner and outer light; Protestant poets like Spenser reinvented medieval romance’s “enchanted” world as a four-part invention of inner and outer voices. But still missing from this more holistic picture is the recognition that, however many “disenchanting” attitudes one believes Protestants unleashed, they were already unleashed in the Middle Ages, itself as varied and unstable as any other period in history.

Medieval views of the supernatural were complicated at best, and often not naïve. Moreover, many forms of “disenchantment” flourished throughout Middle Ages, not just in the Late Middle Ages, the “age of decline” some Reformation historians conveniently blame. Carlos Eire noted the fact that many atheists were willing to die for their beliefs in the Spanish Inquisition, heralding a newer age, but I’d note that the High Middle Ages, too, saw many doubters who faced parallel dangers  (e.g. in England from 1161 onwards).[4] Books were even written to try to turn doubters: e.g. Peter of Cornwall, an Austin canon and prior of Trinity, Aldgate, tells us c. 1200 that he compiled his massive Liber Revelationum (now London, Lambeth Palace MS 51) to convince “unbelievers”:

“Since there are still some who believe that there is no God and the world is ruled by chanceand many who believe only what they see … I (ego, Petrus ecclesie S. Trinitatis Lundonie) have collected out of the lives and acts of the saints, these revelations and visions… . I have confined myself to those which occurred since Christ’s passion, excluding from my view the Old and New Testaments, to which all have access.”[5]

Whoever these unbelievers were, then, they were highly literate, apparently readers of Latin with access to the Old and New Testament – part of the establishment.  Medieval attitudes toward vision could range widely from the devout, like Peter (who nonetheless verified his witnesses officially) to skeptics, like Archbishop John Pecham (who in the 1270s questioned Hildegard of Bingen’s visions using historiographical methods worthy of later Renaissance humanists), to outright deniers, like John Wyclif (who denounced Hildegard’s visions as “extra fidem Scripture”).[6]

Without this range and complexity, the Reformation’s doubts, queries and changes would have been unimaginable, because their writers and reformers would have had less legal and theological precedent. In fact, I’d argue, Luther himself benefited enormously from medieval academic protections and precedents, achievements hard won via the legal and theological challenges of evolving academic institutions. These are the gifts that Medieval writers offered posterity, too often missed in the rush to pigeonhole the Middle Ages as simply “Other.”

Disputatio pro declaratione virtutis indulgentiarum(The “95 Theses”), Nuremberg, Hieronymus Höltzel, 1517

What allowed Luther in 1517, then a Wittenberg professor of moral theology, to commit his famous act (actually a routine act at the time[7]) of nailing up theological propositions for dispute was the fact that medieval universities had rights and privileges. He posted the Ninety-Five Theses (or Disputation on the Power of Indulgences) on the door of the Castle church (in fact, often used as Wittenberg’s university “billboard”), an action that depended upon a series of medieval inventions and precedents. First, a university had a right to some degree of self- governance independent of the local bishop, and to some forms of academic freedom (not so large as our own, but worthy ancestors of them). So, for instance, in 1290 Godfrey of Fontaine wrote his Quodlibet VII on whether a master of theology may contradict an article condemned by a bishop (“Utrum magister in theologia debet dicere contra articulum episcopi si credit oppositum esse verum”), deciding, strikingly, that on truths necessary to salvation a theologian should not comply with a condemnation he disagreed with, even if others are “scandalized” by his disobedience.[8]  Those outside of the protection of the university could be less fortunate: Godfrey later wrote an approbation of Marguerite Porete’s mystical work, which, however, did not prevent her tragic execution in 1310. Second, Luther had access to the technologies of medieval book and pamphlet production – like the university, the printing press, too, was a medieval invention,[9] but the pamphlet genre was even earlier, as was the broadside.[10] Third, in medieval university contexts, lists of “points” or topics for disputation were common, while “conclusions,” a related genre, were considered more aggressive. Famously in England, the Twelve Conclusions of the Lollards were affixed to the doors of both St. Paul’s and Westminster Hall in 1395, though the genre does not itself imply heresy.[11] In fact, medieval universities had developed a very specific set of loopholes for academic freedom, from the famous Paris condemnations of 1277 (which reached even to Thomas Aquinas), through John XXII’s persecutions of dissenting academics, and beyond, resulting in an intellectual tradition of disputations probing the one problem that could override any episcopal censure: the question of what was necessary to salvation.[12] I would argue, then, that it was precisely on such matters of “truths necessary to salvation” that many reformers, including Luther, benefited from a protective umbrella, to some real extent, developed – and not without pain and sacrifice – by academics in the Middle Ages.  Lest we forget.

Medieval stained glass fragments gather after destruction by Cromwell’s soldiers, Ripon Cathedral, Yorkshire.

So, when medievalists look at Luther 500 years later, they think not of rupture, but continuities – all the earlier times history came so close. Instead of thinking of the Reformation like the smashed fragments from Ripon Cathedral’s medieval windows (above), we probably think instead of one of the literally thousands of intact medieval windows across Europe, like the one from York’s Holy Trinity Goodramgate (below) of family-friendly saints smiling down upon the altar for centuries, over the Early Modern tablets bearing the Creed and Commandments in English.[13]  What divides us is never greater than what unites us.

15th-c East window of Holy Trinity, Goodramgate, York, with (bottom row) female saints, biblical families and Holy Trinity (centre). For close-ups of each see Corpus Vitrearum.

 

The same window in situ, with Early Modern tables of Creed and Ten Commandments above the altar.

 

Kathryn Kerby-Fulton, Emeritus Professor
University of Notre Dame

 

Notes:

[1]My thanks to Mike Johnston for creating one welcome exception, Purdue University’s The Meaning of the Reformation” conference where this paper was first given Nov., 2017.

[2]I quote here from Eire’s blurb for “Reshuffling the Seen and the Unseen: A Reappraisal of the Legacy of the Reformation,” given Oct. 17, 1017 at University of Victoria for The 500th Anniversary of the Reformation series. See Eire’s, Reformations: The Early Modern World, 1450-1650 (New Haven, 2016).

[3]Max Weber, The Sociology of Religion(Boston, 1971) p. 270.

[4]See the Chronology Chart in K. Kerby-Fulton, for Books Under Suspicion: Censorship and Tolerance of Revelatory Writing in Late Medieval England(Notre Dame, 2006) xix –lii (BUS); and “Skepticism, Agnosticism and Belief: The Spectrum of Attitudes Toward Vision in Late Medieval England,” in Women and the Divine in Literature before 1700: Essays in Memory of Margot Louis, ed. K. Kerby-Fulton (Victoria, 2009) 1-18.

[5]Quoted here from Robert Easting and Richard Sharpe, “Peter of Cornwall, The Visions of Aisli and his Sons,” Mediaevistik(1998): 248, from Peter’s Prologue.

[6]Kerby-Fulton,“Skepticism.”

[7]Andrew Pettigree, Brand Luther(London, 2015) 71. The Castle Church functioned as a classroom in the university, and its door was used as a billboard.

[8]BUS, 38-9.  For a similar case involving the privileges and liberties of Oxford (libertatum et privilegiorum universitatis Oxoniensis), see BUS,3.

[9]In Europe, but in China mechanical printing dates from the 8thc. C.E.

[11]Hudson, Select Wycliffite Writings, (Toronto, 1997) 150.

[12]BUS, 35.

[13]Sarah Brown, “Reformation, Iconoclasm and Restoration Stained Glass in England c1540-1830” http://www.buildingconservation.com/articles/english-stainedglass/english-stainedglass.htm.

 

Katharina Tucher Uses the Bible (Part 2)

Don't forget to read Part 1 of this post here.

The collection of books that Nuremberg widow Katharina Tucher donated to her new convent around 1440 offer a stunning snapshot of one woman’s religious literary interests. Tucher’s books included the sorts of works one would expect to see in the library of a wealthy fifteenth-century reader: prayer books, Henry Suso’s Büchlein der ewigen Weisheit, hagiographies of popular female saints. One particularly noteworthy feature of her collection, however, transcends any one text or genre: the sheer amount of biblical and biblically-derived material.

Her most straightforwardly biblical books, mentioned in the previous post, are also distinguished by their utility: one text meant for use at Mass, a second turned into such, a book for praying. But we also find the reverse situation—texts from popular genres have a Scripture-based parallel in Tucher’s collection. She owned prophecies of the Sibyl and Birgitta of Sweden—and a collection gathered from the Old Testament. Of the devotional poem Christus und die minnende Seele, which scholars have demonstrated had a deep influence on the Offenbarungen, what accompanied Tucher to St. Katherine’s was an excerpt glossing the Book of Esther. [12] For moral instruction, she had treatises on the traditional categories of virtue and vice like Von der Keuschenheit—but also two copies of Marquard’s treatise on the increasingly popular way to structure moral teaching instead, the Ten Commandments. [13]

Perhaps most intriguing of all is Tucher’s portion of MS Strasbourg, Bibliotheque Nationale et Universitaire, cod. 2195. She herself wrote 104v and 138v-148v. Of these, 139r-142r and 147r-148v match the contents of an unrelated manuscript in the Nuremberg city library. These folios contain a smattering of spiritual advice attributed to authors like Augustine and Bernard of Clairvaux, along with some German prose versions of hymns like Veni spiritus sancti. [14]

104v and 142v-146v, however, were either added by Tucher when she copied an exemplar, or subtracted by the other scribe when they copied hers. The texts that Tucher felt were necessary to include, that the other author did not? From 104v, an excerpt from the letter to the Colossians (Col 3:1-4). From 142v-146v, a short text attributed to Bernard, and three more hymns modified into German prose. Those hymns were the Magnificat from Luke and two passages of the praise of Wisdom from Sirach. [15]

As with the examples in other genres, the Bible-based hymn variations that Tucher included in cod. 2195 matched non-biblical material in her library, in this case, in the same manuscript. They stand out not in their message but in their origin.

There are two key points here. First, the biblical material in Tucher’s personal library was useful. From a historiated Bible marked out for reference according to use in the liturgy to framing her sins and successes with the Ten Commandment, Scripture was present as a means rather than an end. Second, much of the Bible’s shadow over her book collection is in fact “biblical material,” rather than full Bibles or narrative equivalents. The distinction of these texts from their non-biblical partners was clear in the Middle Ages as today—the nuns of St. Katherine’s, for example, categorized didactic texts based on the Ten Commandments and other biblical structures (B) immediately after Bibles (A). [16] Biblical material did not necessarily add new teachings to the devotional life of its readers. It did, however, offer a different foundation for those teachings. And as the rising prominence of the Decalogue in moral teaching shows, this particular foundation was more and more important as the fifteenth century progressed.

Recent scholarship has finally grown more comfortable discussing the perfectly orthodox presence of vernacular Scripture in the fifteenth century, including in lay readers’ hands. The “Holy Writ and Lay Readers” project, although it does not at present cover southern Germany, has proven especially helpful in emphasizing the different formats that the “Bible” could take. Leaders Sandra Corbellini, Mart van Duijn, Suzan Folkerts, and Margriet Hoogvliet write:

The focus on the “completeness” of the text does not take into account the specific practice of diffusion of the biblical text…often delivered…in the form of passages and pericopes. Moreover, the stress on “complete Bibles” does not fully acknowledge the importance of the connection with the liturgy in the approach of lay people to the biblical text. In fact, the participation in the liturgy and the reading of biblical pericopes following the liturgical calendar…offer the most important and valuable means of access to the Scriptures.

The selection of biblical texts and liturgical rearrangements should be taken as…an indication of a specific use and approach, determined by the needs and the interests of the readers. [17]

To frame lay reading of the Bible as “functional,” as Corbellini et al. describe with respect to liturgical use, indicates an active and conscious engagement with peri-biblical text as Scripture. In this light, Katharina Tucher’s book collection suggests that our understanding of “the vernacular Bible” in the fifteenth century might be broadened even further. The pericope and marked-up historiated Bible in her library were useful. So were her Psalter, moral instruction organized according to the Ten Commandments, and biblical hymns presented as prayer. These texts, in their functionality, also represent an active and conscious engagement with the Bible.

Only by studying the many forms of the Bible’s presence in Tucher’s library, therefore, can we begin to understand its place in her spiritual life. I have described her reading interests as “comprehensively typical,” but at the same time, she added biblical material to a miscellany where another scribe omitted it. How “typical,” then, was she? By casting the same wider gaze over biblical material in fifteenth-century literary culture, we can better understand how a lay person interacted with the religious world of their day—a pressing question for Tucher’s era in particular. And indeed, only by accounting for all dimensions of biblical material can we grasp the changing place of the Bible in fifteenth-century religious culture.

Cait Stevenson, PhD Candidate
University of Notre Dame

[12] On Tucher’s use of Christus und die minnende Seele, see most comprehensively Amy Gebauer, ‘Christus und die minnende Seele’: An Analysis of Circulation, Text and Iconography (Wiesbaden: Reichert Verlag, 2010).

[13] On the Decalogue’s gradual replacement of the seven deadly sins as the foremost means to teach morality, see Robert Bast, Honor Your Fathers: Catechisms and the Emergence of a Patriarchal Ideology in Germany, 1400-1600 (Leiden: Brill, 1997); John Bossy, “Seven Sins into Ten Commandments,” in Conscience and Casuistry in Early Modern Europe, ed. Edmund Leites (Cambridge: Cambridge University Press, 1988), 214-234.

[14] Williams and Williams-Krapp, “Introduction,” 18.

[15] Ibid.

[16] Ehrenschwendtner, 126.

[17] Corbellini et al., 177-178.