July sign of the zodiac and labour
Date
ca.1383-1400
Creator
Object type
Archive reference number
Material
Dimensions
height (sheet): 194mm
width (sheet): 1488mm
height (compartment): 97mm
width (compartment): 62mm
width (sheet): 1488mm
height (compartment): 97mm
width (compartment): 62mm
Subject
Content object
Description
Sign of the zodiac and labour for the month of July from a folded medieval almanac made up of multiple calendars.
The sign of the new zodiac entered in July is Leo, the lion, shown in the almanac as a maned lion seen in profile with a long curving tail ending in a tuft and with one foreleg raised as if striding, in heraldry this position is known as passant and the image is reminiscent of stylised heraldic representations of a lion.
The lion appears under the heading ‘Sol in Leone’ denoting that the sun is in the longitude of the sign of Leo.
The yellow pigment used to colour the lion has been identified as orpiment an arsenic based pigment, the use of which was largely discontinued by the 15th century when it was replaced with the brighter more stable lead-tin yellow. Identification of orpiment in MS/45 has helped narrow the likely date of the almanac to late 14th century.
The almanac’s recommended labour for July is scything, the crops that were immature and still being weeded in June should now be ready for harvest. The illustration shows a bearded figure in a wide hat using a scythe to cut a crop, which is hard to identify as it is shown only as short green stalks. Based on comparable almanacs it is most likely a grass for haymaking.
The figure appears under the heading ‘VII Iulius XVI’. Underneath the first numeral the same number is rendered in green ink in a cipher ‘c.:’ (very faded) normally the second numeral would also appear in cipher form but the space it would occupy has been taken by the harvester’s hat.
The sign of the new zodiac entered in July is Leo, the lion, shown in the almanac as a maned lion seen in profile with a long curving tail ending in a tuft and with one foreleg raised as if striding, in heraldry this position is known as passant and the image is reminiscent of stylised heraldic representations of a lion.
The lion appears under the heading ‘Sol in Leone’ denoting that the sun is in the longitude of the sign of Leo.
The yellow pigment used to colour the lion has been identified as orpiment an arsenic based pigment, the use of which was largely discontinued by the 15th century when it was replaced with the brighter more stable lead-tin yellow. Identification of orpiment in MS/45 has helped narrow the likely date of the almanac to late 14th century.
The almanac’s recommended labour for July is scything, the crops that were immature and still being weeded in June should now be ready for harvest. The illustration shows a bearded figure in a wide hat using a scythe to cut a crop, which is hard to identify as it is shown only as short green stalks. Based on comparable almanacs it is most likely a grass for haymaking.
The figure appears under the heading ‘VII Iulius XVI’. Underneath the first numeral the same number is rendered in green ink in a cipher ‘c.:’ (very faded) normally the second numeral would also appear in cipher form but the space it would occupy has been taken by the harvester’s hat.
Object history
Robert Moray FRS donated the manuscript to the Royal Society library in 1668 (JBO/3/104: Journal Book, vol. 3 p.232). The provenance of the manuscript, before it came into the hands of Moray, is unknown.
The presence of the feast day ‘Translacio Edwardi Regis’ (13 October) entered on the calendar as a red letter day shows an importance being attached to Edward the Confessor great patron of Westminster Abbey where his relics were a popular site for pilgrimage, this may suggest a London origin. While the inclusion of ‘Translacio Mildride’ (13 July) honouring the Anglo-Saxon princess Mildred, suggests Kent. Mildred was Abbess of Minster-in-Thanet, where she was first buried and her relics were later moved to Canterbury. Four Archbishops of Canterbury also feature in the liturgical calendar, strengthening the connection with Kent as a possible place of origin. The inclusion of cultivation activities early in the annual calendar of labours (digging/planting in February), a later hay harvest (July rather than June) and viticulture (March and September) suggests a temperate southern English climate in support of one of these locations rather than a warmer Mediterranean location or a cooler northern one.
The calendar has been dated to the late 14th century based on the textual content and analysis of the pigments used. Saint George’s feast (23 April) written into the calendar in brown-black ink demarcating it as a lesser feast, indicates the calendar was produced before the elevation of the feast to a red letter day after the battle of Agincourt in 1415. Whilst the presence of the feast of St. Anne, which was not promulgated until 1383 suggests this as the earliest likely date. The presence of the yellow pigment orpiment supports a date in the late 14th century as it was widely replaced by use of lead-tin Yellow around 1400.
An example of a mid-quality almanac. The range of pigments used demonstrate it was produced economically but not with the cheapest available materials. No gold leaf is present and indigo dyes are used for blue rather than more expensive minerals, however vermilion red is employed over cheaper organic sources. The uniformity and selection of pigments (gallo-tannic black rather than carbon-based) suggests that there was a single creator, rather than a scribe and an illustrator as would be expected for a finer document. This is borne out by the fairly crude rendering of the illustrative material and mistakes or omissions in the layout of information, see for example figures missing feet where these would have extended below a ground line and numbers missing from zodiac headings.
Conserved in 2021 with the support of the National Manuscripts Conservation Trust.
Video demonstrating the format of the almanack and relationship of the calendars available here: https://www.youtube.com/watch?v=I5Gwnk-BrL4
See P Robinson, 'A 'very curious Almanack'; the gift of Sir Robert Moray FRS, 1688', Notes and Records, 2008 vol 62 pp 301-314.
The presence of the feast day ‘Translacio Edwardi Regis’ (13 October) entered on the calendar as a red letter day shows an importance being attached to Edward the Confessor great patron of Westminster Abbey where his relics were a popular site for pilgrimage, this may suggest a London origin. While the inclusion of ‘Translacio Mildride’ (13 July) honouring the Anglo-Saxon princess Mildred, suggests Kent. Mildred was Abbess of Minster-in-Thanet, where she was first buried and her relics were later moved to Canterbury. Four Archbishops of Canterbury also feature in the liturgical calendar, strengthening the connection with Kent as a possible place of origin. The inclusion of cultivation activities early in the annual calendar of labours (digging/planting in February), a later hay harvest (July rather than June) and viticulture (March and September) suggests a temperate southern English climate in support of one of these locations rather than a warmer Mediterranean location or a cooler northern one.
The calendar has been dated to the late 14th century based on the textual content and analysis of the pigments used. Saint George’s feast (23 April) written into the calendar in brown-black ink demarcating it as a lesser feast, indicates the calendar was produced before the elevation of the feast to a red letter day after the battle of Agincourt in 1415. Whilst the presence of the feast of St. Anne, which was not promulgated until 1383 suggests this as the earliest likely date. The presence of the yellow pigment orpiment supports a date in the late 14th century as it was widely replaced by use of lead-tin Yellow around 1400.
An example of a mid-quality almanac. The range of pigments used demonstrate it was produced economically but not with the cheapest available materials. No gold leaf is present and indigo dyes are used for blue rather than more expensive minerals, however vermilion red is employed over cheaper organic sources. The uniformity and selection of pigments (gallo-tannic black rather than carbon-based) suggests that there was a single creator, rather than a scribe and an illustrator as would be expected for a finer document. This is borne out by the fairly crude rendering of the illustrative material and mistakes or omissions in the layout of information, see for example figures missing feet where these would have extended below a ground line and numbers missing from zodiac headings.
Conserved in 2021 with the support of the National Manuscripts Conservation Trust.
Video demonstrating the format of the almanack and relationship of the calendars available here: https://www.youtube.com/watch?v=I5Gwnk-BrL4
See P Robinson, 'A 'very curious Almanack'; the gift of Sir Robert Moray FRS, 1688', Notes and Records, 2008 vol 62 pp 301-314.
Related fellows
Robert Moray (1608 - 1673, British) , Natural Philosopher
Associated place
