What makes this portrait unique is that the devil poses alone on the page and he is staring right at you. Portraits of the devil are common place in medieval art. The book was created in the 13th century and gets its name from the full-page portrait of the devil. However, it does contain the Christian bible as well as texts about how to perform exorcisms, calendars, the history of the region of Bohemia where it was made, and medical advice. The Devil's Bible is in fact not a bible. The Voynich Manuscript is kept at the Beinecke Library at Yale.
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There are even claims that Voynich himself created this manuscript and that it is indeed a forgery. Attempts have been made to translate the book but nothing definitive has come from these efforts. What is interesting about the Voynich Manuscript is that it is written in an unknown language, using an unknown cursive script, both of which has yet to be deciphered. The manuscript is written on parchment which has been dated to sometime between 14. The Voynich Manuscript gets its name from Wilfrid Voynich, a Polish book dealer who discovered this manuscript in 1912. We would like to introduce you to four of the weirdest medieval manuscripts still in existence. And then there are the manuscripts that are outright weird. Others are magnificent with colorful writings and illuminations plated in real gold. Some of these manuscripts are plain, written in black ink, and have no more than a few illustrations. View a video introduction to ‘The moving word’ here.Of all the tens of thousands of manuscripts that were produced and copied during the Middle Ages, only a fraction have survived to our day. Full images of the exhibits can be viewed by clicking on the large square thumbnails at the foot of each theme page. Visit the exhibition themes by clicking on the square thumbnails in the row below. This exhibition highlights this cross-fertilisation and celebrates the richly multilingual and itinerant nature of medieval French literary traditions.
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French continued to be used in commerce, law, and literature in medieval England and Anglo-Norman, or Insular French, developed its own characteristics and lexicon.
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England, in particular, played a major role in the dissemination of medieval French materials and many of the major traditions, including Tristan, the Lais of Marie de France, and the Song of Roland have their earliest roots in England before moving, via English manuscript production, to the continent. Many French manuscripts were produced in England, the Low Countries, Italy, Cyprus, the Peloponnese, and the Middle East, and they travelled widely across linguistic and cultural spheres. Nor was Paris the centre of manuscript production and transmission before the end of the reign of Philippe Auguste (Gonesse, 1165–Mantes-la-Jolie, 1223). It was an international language of scholarship and trade, independent of political boundaries and cultural identities.
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‘French’ at this time was not just a language associated with what we now call France. ‘The moving word: French medieval manuscripts in Cambridge’ is a celebration of manuscripts held by the University Library and Cambridge colleges, and a survey of how knowledge travelled in manuscript form around Europe and the Mediterranean between 11.