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Athanor Cover.Indd Matthew Paris’s Illustrated Life of Edward the Confessor: History for the Eyes and Ears of a Queen Deirdre Carter In his mid-thirteenth-century Life of Edward the Confessor, the significance, function, and reception of the historical the English monk, author, and artist Matthew Paris created miniatures in Matthew’s Life of Edward the Confessor. Con- a remarkable fusion of history and hagiography. In both the sideration of the manuscript’s intended audience indicates text and illustrations of the manuscript, Matthew embedded that this striking narrative cannot be dismissed as simply a the traditional account of the saint within a broader historical chronicler’s preoccupation with history or a hagiographer’s narrative, rejecting the hagiographic tendency to disassociate desire to extend his account. Instead, Matthew carefully saints from the historical circumstances in which they lived.1 designed the manuscript in order to present Queen Elea- The manuscript opens with a series of images depicting King nor of Provence, who was both the intended reader and a Edward’s predecessors and the state of the kingdom prior to young woman from abroad, with a very special manuscript his accession to the English throne in 1042.2 In the first eight that suited her age, lineage, and status as an influential miniatures, Edward plays only a minor role in the narrative, woman. Through the manuscript’s tripartite mise-en-page which focuses on the violence and oppression caused by the and engaging historical sequences, Matthew created not invading Danes (Figures 1-4). The pictorial narrative then only a spiritually affective hagiographic narrative, but also continues with the more traditional account of the saint’s an accessible and entertaining, though sometimes biased, life, and later, after the death of Edward, Matthew returns to introduction to the history of England, the land in which a more historically based narrative, omitting several posthu- Eleanor now reigned as queen. mous miracles in favor of an account of the events leading Matthew’s renown is based largely upon his work as a to the Norman Conquest of England in 1066 (Figures 5-6).3 writer and illustrator of Latin historical chronicles, such as the The blended narrative present in the Life of Edward the Chronica Majora (Figure 7; Cambridge, Corpus Christi Col- Confessor is crucial to the understanding of Matthew’s un- lege, MSS 26 and 16; and London, British Library, MS Royal usual role as the author and artist of both historical chronicles 14.C.VII).4 He also wrote and illustrated several narratives, and saints’ lives. Nevertheless, scholars have yet to examine including the Anglo-Norman verse life of Edward the Confes- fully the importance and implications of his innovative ap- sor.5 Matthew’s autograph manuscript has been lost, but most proach, which departs from contemporary conventions of scholars agree that Cambridge, University Library, MS Ee.3.59 hagiographic and historical illustration. This paper explores presents a later copy, and indeed the only surviving copy, of This paper developed from my master’s thesis, entitled “History ward the Confessor,” Archaeologia 109 (1991): 85-95. For a list of the and Hagiography in Matthew Paris’s Illustrated Life of Edward the manuscript’s miniatures, see Nigel Morgan, Early Gothic Manuscripts Confessor.” I would like to thank Professors Richard Emmerson and (II), 1250-1285 (London: Harvey Miller, 1988), cat. 123. To view the Paula Gerson for their insightful comments and unwavering support. entire manuscript online, see “Ee.3.59: The Life of King Edward the Confessor,” Cambridge University Library, accessed 8 June 2011, 1 As stated by Hippolyte Delehaye, in most saints’ lives “historical per- http://www.lib.cam.ac.uk/deptserv/manuscripts/Ee.3.59. sons are deprived of their individuality, removed from their proper surroundings, and in a way isolated in time and space, so that their 4 Matthew produced the Chronica Majora at St. Albans Abbey c. 1240- image in people’s minds is an incongruous and unreal one.” See Hip- 1259. According to Suzanne Lewis, the three volumes of the chronicle polyte Delehaye, The Legends of the Saints, trans. Donald Attwater contain over one hundred and thirty tinted marginal illustrations, as (New York: Fordham University Press, 1962), 19. Also see Cynthia well as approximately three hundred smaller and more abstract draw- Hahn, Portrayed on the Heart: Narrative Effect in Pictorial Lives of Saints ings. See Suzanne Lewis, The Art of Matthew Paris in the Chronica from the Tenth through the Thirteenth Century (Berkeley: University Majora (Berkeley: University of California Press, 1987), 443-458; of California Press, 2001), 36. and Nigel Morgan, Early Gothic Manuscripts (I), 1190-1250 (London: Harvey Miller, 1982), cat. 88 and 92. 2 Frank Barlow, Edward the Confessor (Berkeley: University of California Press, 1970), 340. 5 The other illustrated narratives that are associated, sometimes contro- versially, with Matthew include a Life of Saint Alban (Dublin, Trinity 3 For discussions of the way in which Matthew’s narrative differs from College Library, MS 177), a Life of Thomas Becket (Burton upon Trent, previous versions of the Life of Edward the Confessor, see Kathryn Staffordshire, England, The Wormsley Library, Becket Leaves), and the Young Wallace, introduction to La Estoire de Seint Aedward le Rei Vitae duorum Offarum (London, British Library, MS Cotton Nero D.I). (London: Anglo-Norman Text Society, 1983), xxiii-xxix; and Paul See Morgan, Early Gothic Manuscripts (I), cat. 61, 85, 87. Binski, “Abbot Berkyng’s Tapestries and Matthew Paris’s Life of St Ed- ATHANOR XXIX DEIRDRE CARTER 30 MATTHEW PARIS’S ILLUSTRATED LIFE OF EDWARD THE CONFESSOR: HISTORY FOR THE EYES AND EARS OF A QUEEN Figure 8. Matthew Paris, Historia Anglorum: marriage of Henry III and Eleanor of Provence, 1250-1259. London, British Library, MS Royal 14.C.VII, folio 124v © British Library Board, British Library, MS Royal 14.C.VII. [facing page] Figure 7. Matthew Paris, Chronica Majora: combat between Edmund Ironside and Cnut the Dane, c. 1240-1253. Cambridge, Corpus Christi College, MS 26, folio 80v. By permission of The Master and Fellows of Corpus Christi College, Cambridge. 31 ATHANOR XXIX DEIRDRE CARTER his original work.6 The style of the Cambridge manuscript’s to some of her new kingdom’s most distinguished saints.11 sixty-four framed and tinted line drawings suggests that the Although previous scholars have not explored the question extant copy was produced c. 1255-1260 at Westminster or of Eleanor’s understanding of Matthew’s historical additions, in London.7 Each page features one large miniature, which several studies have noted that the Estoire emphasizes the is placed above the poetic text and an abbreviated version historical aspects of Edward’s life. These scholars suggest of the story in rubrics (Figure 1). Together, these images form that Matthew’s decision to call his text an estoire, or history, a lively pictorial narrative that develops and progresses with rather than a vie, or life, is representative of the changes he the turning of each folio. The textual narrative, entitled La made to the established version of the hagiography written Estoire de Seint Aedward le Rei, includes a dedication, which by Aelred of Rievaulx in the mid-twelfth century.12 Thelma states that the text and illustrations were originally designed S. Fenster and Jocelyn Wogan-Browne argue that Matthew and produced for Queen Eleanor of Provence, who mar- emphasized the historical circumstances of Edward’s life ried England’s King Henry III in 1236. In the dedication, and death in order to stress the importance of maintaining Matthew also explains that Eleanor’s knowledge of Edward legitimate rulership.13 Despite its plausibility, scholars have the Confessor was particularly important due to Henry’s yet to consider how this explanation relates to the specific special affinity for the saint.8 According to D.A. Carpenter, needs of Eleanor, the manuscript’s intended reader, rather this statement indicates that the manuscript was most likely than those of her husband, the king. This paper seeks to commissioned by Henry around 1236 in order to foster his address this issue, exploring the ways in which Matthew young wife’s familiarity with his favorite saint, a view that manipulated the manuscript’s writing, mise-en-page, min- seems probable given Henry’s patronage of other Edward- iatures, and text-and-image relationships in order to appeal related works of art.9 to the needs and interests of Queen Eleanor. This information regarding the manuscript’s audience Eleanor of Provence spent her childhood at her father’s has led several scholars to speculate about how Matthew court in southern France, and it was here that she was shaped intended the manuscript to function. Studies by Cynthia into the elegant and articulate young woman described Hahn and by Paul Binski imply that Matthew hoped to in contemporary documents. In the last months of 1235, present his female audience with lessons that dealt primar- Eleanor traveled to England to prepare for her upcoming ily with the proper behavior for royal and courtly men.10 marriage to Henry III. On the day of their wedding in January Elsewhere, Binski has given greater consideration to the 1236, she was twelve years old.14 The representation of this special needs of Eleanor, arguing that the manuscript pro- event in Matthew’s Historia Anglorum emphasizes Eleanor’s vided this young foreign-born queen with an introduction youth, depicting her as a diminutive and timid figure standing 6 The poem and the design of the illustrations were first attributed to Binski, Westminster Abbey and the Plantagenets: Kingship and the Matthew by M.R. James based on similarities to the images and texts Representation of Power, 1200-1400 (New Haven: Yale University found in Matthew’s other manuscripts.
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