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dc.contributor.authorJeffs, Amy
dc.date.accessioned2020-03-09T17:04:00Z
dc.date.available2020-03-09T17:04:00Z
dc.date.issued2020-04-25
dc.date.submitted2020-02-29
dc.identifier.urihttps://www.repository.cam.ac.uk/handle/1810/303173
dc.description.abstractEgerton MS 3028 (dated 1338-40, hereafter Egerton) contains three illustrated Anglo- Norman poems: the Roman de Brut (Wace’s translation of Geoffrey of Monmouth’s History of the Kings of Britain) and two Fierabras narratives, set in the age of Charlemagne. The former is continued to the years 1338-40 and its conclusion is partisan, celebrating Edward II and the Despensers and praying for Edward III’s victory. Egerton’s poems span 118 folios and are illustrated with 120 pen and wash miniatures. The use of the royal heraldry of England and France throughout encourages the volume to be read in the light of the contemporary Anglo-French conflict. The present study reviews and builds upon the little scholarly attention Egerton has received to date. It explores its close relationship with Hannover MS IV 578, the nature of the Brut’s textual adaptations, how these adaptations were shaped for its imagery, and for whom it may have been made. I argue Egerton was produced for a young male reader of the English nobility. I suggest that reader was Edmund Fitzalan, son of Isabel le Despenser and Richard Fitzalan, 3rd Earl of Arundel. Egerton’s political agenda reflects that of the small corpus of earlier illustrated Brut manuscripts. In appearance, however, it is most like manuscripts containing illustrated tales of ancient military adventure, which I argue preserve the legacy of Greek paideia. The effect of combining these traditions is to imply Edward III’s wars have legendary potential, while offering an entertaining catalogue of historical exempla. In several of the manuscripts I discuss, including Egerton, medieval readers have pierced images of traitors with pins and blades. The damage reveals sensitivity to contemporary metaphors surrounding kingship. Moreover, it reinforces the sense that Egerton is a member of a corpus of books defined not by textual genre but by intended function, a function to which images were instrumental.
dc.description.sponsorshipFull Scholarship from the Arts and Humanities Research Council (AHRC)
dc.language.isoen
dc.rightsAll rights reserved
dc.subjectMedieval
dc.subjectMedieval Literature
dc.subjectMedieval Art
dc.subjectMedieval Art History
dc.subjectPaideia
dc.subjectReception
dc.subjectManuscripts
dc.subjectMedieval Manscript
dc.subjectManuscript Studies
dc.subjectNarrative Art
dc.subjectIllustrating Literature
dc.subjectBook Art
dc.subjectIllumination
dc.subjectPen and Wash
dc.subjectPedagogy
dc.subjectChivalry
dc.subjectMedieval Children's Literature
dc.subjectChildren's Literature
dc.subjectChansons de Geste
dc.subjectFierabras
dc.subjectRoman de Brut
dc.subjectMatter of Britain
dc.subjectMatter of France
dc.subjectWace
dc.subjectCharlemagne
dc.subjectArthur
dc.subjectMerlin
dc.subjectModels
dc.subjectCopying
dc.subjectHundred Years' War
dc.subjectBrut
dc.subjectGeoffrey of Monmouth
dc.titlePicture-books, Politics & Pedagogy: Illustrating Histories for a Young Reader, 1338-40 (British Library, Egerton MS 3028)
dc.typeThesis
dc.type.qualificationlevelDoctoral
dc.type.qualificationnameDoctor of Philosophy (PhD)
dc.publisher.institutionUniversity of Cambridge
dc.publisher.departmentHistory of Art
dc.date.updated2020-02-24T17:34:17Z
dc.identifier.doi10.17863/CAM.50252
dc.publisher.collegeCorpus Christi
dc.type.qualificationtitlePhD in History of Art
cam.supervisorBinski, Paul
cam.thesis.fundingfalse
rioxxterms.freetoread.startdate2026-03-09


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