The Friday Arts Diary

Our cultural picks for the week ahead.

Music

Barbican Centre, London, EC2: The Cinematic Orchestra, 30 June

The Barbican hosts Jason Swinscoe's Ninja Tunes project. Combining jazz improvisation, sampled soundtrack music, film images and dance music tropes, this orchestra achieves a variety and beauty not to be underestimated. Originally written for a string quartet, from visuals such as René Clair’s surrealist Entr’acte (The Cinematic Orchestra) and Peter Tscherkassky’s Outer Space (Dorian Concept and Tom Chant), the final product has a depth of emotion which can take the breath away. This is their final date in the UK before they move on to Italy.

Literature

Hampstead Heath, London: Walking Book Club, 1 July

This week the book-lovers from the Walking Book Club will turn to Vita Sackville-West’s All Passion Spent. Written as a fictional companion to Virginia Woolf’s A Room of One’s Own, this novel follows newly-widowed Lady Slane as she rents a house in Hampstead to begin a new life. Introducing the reader to a variety of Lady Slane’s new friends and a few figures from her past, this novel extols the virtues of following one’s desires, no matter how late in life. This free event, open to all readers and their walking companions, offers participants a chance to discuss the book in an informal setting.

Cinema

Queen of Hoxton, London, EC2: Easy Rider, 1st July

The Rooftop Film Club gives cinema lovers an opportunity to see classic films in the open air. On Sunday they give their screen over to Easy Rider, the 1969 classic directed by and starring Dennis Hopper. Easy Rider is the tale of two bikers who head from LA to Florida to retire after a major cocaine sale. A cult favourite, this film discusses themes of freedom, boundaries and establishment and offers a detailed portrait of its time.

Theatre

AE Harris and mac Birmingham, Birmingham: Be Festival 2nd July- 8th July

This year’s Be Festival is the third to be held in Birmingham as part of a Europe-wide project to unite cultures and individuals through theatre. This year, mac Birmingham will host the winning show from the BE festival 2011, As the Flames rose, we danced to the sirens, the sirens by the Sleepwalk Collective. AE Harris will show four thirty-minute shows each night from  this year’s entrants, each accompanied by dinner, music, drinks and an after show party. All shows come from across the continent and are designed to be viewed and understood by everyone, regardless of language.

Exhibitions

Piper Gallery, London W1: Inaugural exhibition: Then and Now: Edward Allington and Vaughan Grylls

This week marks the launch of a new contemporary art gallery. Piper Gallery will represent artists who are continuing to produce innovative work at least 40 years into their careers. Those exhibiting include Edward Allington, Tess Jaray and Francis West.

The Cinematic Orchestra will be playing at the Barbican Centre on 30th June. Photo: Getty Images
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Hands across the pages: the stories of the world's most beautiful books

Meetings With Remarkable Manuscripts by Christopher de Hamel allows us to see inside the books most of us will never get the chance to open.

Some books are so old and valuable that most readers will never get to see them ­except when opened at a single spread in a glass display case. As Christopher de Hamel (the custodian of the treasure-house Parker Library at Corpus Christi, Cambridge) observes, even now that many rare books have been digitised, there is no satisfactory substitute for sitting at a desk and turning these ancient pages yourself, “touching hands” with their creators and the long-vanished world in which they lived.

Given that you generally need to be a ­palaeographer of de Hamel’s standing in order to do this, his handsome new book provides the next best thing. He has selected for our joint inspection 12 manuscripts, ranging in date from the late-6th-century Gospels of St Augustine to the early 16th-century Spinola Hours. These books have made very long journeys to their current locations in (mostly) high-security, temperature-controlled and restricted-access libraries and museums, crossing seas and continents, passing through many hands, and sometimes disappearing entirely from view for centuries.

The experience of reading this book is of sitting beside de Hamel as he describes the commissioning, making and subsequent history of these manuscripts and draws our attention to quirky or crucial details we might otherwise have missed. The book is lavishly illustrated but many of the images have had to be reduced from their real dimensions, and readers will find it useful to have a magnifying glass to hand, as de Hamel does when studying the originals.

As part of the immersive experience the author provides, we meet not only the books, but also the libraries and museums in which they are kept and the staff who oversee them. At the Kongelige Bibliotek in Copenhagen, he tells us, ordinary visitors are treated “with a care and patience I could hardly imagine in any other national library”, whereas the employees of the Morgan Library & Museum in New York are grim, bossy and humourless, while those at the Bibliothèque nationale de France are “inclined to fob you off with microfilm, ­especially if they suspect that your French is not up to arguing”. Once seated at a desk, de Hamel takes possession of the books, describing their bindings, dimensions and (in footnotes) their collation, in which the pages that make up a manuscript are itemised according to “a formula that looks at first sight as impenetrable as a knitting pattern or a sequence of DNA, but which is in fact quite precise and simple”.

Some of these books were created for personal and portable use, but others are extremely large and heavy. In a delightfully unsupervised room at the Biblioteca Medicea Laurenziana in Florence, de Hamel tries to pick up the Codex Amiatinus (circa 700), the weight of which the archaeologist Rupert Bruce-Mitford likened to that of “a fully grown female Great Dane”. Not to be outdone, de Hamel notes that “a 12-to-13-year-old boy is about the same”, and adds that it would have taken the skins of 515 young cattle to produce the 1,030 pages of parchment needed for this huge Vulgate Bible. It began its life in what is now Tyne and Wear, copied from a Bible brought back to England from Rome in 680 by two monks called Benedict and Ceolfrith. It was in fact one of three copies, two of them commissioned for the twinned abbeys of Wearmouth and Jarrow, and a third to be lugged back to the papal court in Rome, “the first documented export of a work of art from England”.

Unfortunately, Ceolfrith died en route in central France and the book vanished from history for over a millennium, not least because someone altered its dedication page. It appeared, unrecognised, in the inventory of a Tuscan monastery in 1036, but was not identified as Ceolfrith’s lost copy until 1887. Quite how it ended up in the monastery is not known, though de Hamel wonders whether the monks accompanying Ceolfrith paused at Monte Amiata on the onward journey to Rome and then decided to settle there.

The detective work in tracing the history and provenance of these manuscripts is an essential and enthralling element of de Hamel’s book. Another extraordinary survival is that of The Hours of Jeanne de Navarre, found literally underfoot by a French soldier in a railway siding at Berchtesgaden Railway Station in 1945, after Hitler’s Alpine retreat had been overrun by Allied forces. Created for the eponymous French queen in the second quarter of the 14th century, the book passed through several royal hands, including those of Joan of Navarre, the second wife of Henry IV of England. It then spent three centuries at a Franciscan nunnery in Paris, before coming on to the collectors’ market. Bought by Edmond de Rothschild in 1919, it was subsequently stolen by the Nazis and possibly entered Hermann Göring’s personal collection.

The significance of these books is not merely palaeographical, and de Hamel proves equally well versed in medieval genealogy, and religious and social history. He provides enlightening accounts both of the production of the books and of the ways in which they were used: sometimes to teach royal children to read, sometimes as a way for the aristocratic laity to commune with God without the intermediary of church and priest. He describes the physical demands of being a scrivener or illuminator, and a fascinating chapter on the “Hengwrt Chaucer” carefully weighs the evidence identifying the individual who created this c.1400 copy of The Canterbury Tales.

The author challenges the received wisdom, declaring himself unimpressed by the much-vaunted artistry of The Book of Kells: it may contain the earliest painting of the Virgin and Child in European art but “the baby is grotesque and unadorable, with wild red hair like seaweed [and] protruding upturned nose and chin”. He evidently prefers the mid-10th-century Morgan Beatus, which warns of an apocalypse that seemed at the time all too imminent and includes an enchanting Adam and Eve, “brightly pink like newly arrived English ­holidaymakers on Spanish beaches”. As these quotations demonstrate, de Hamel’s book may be a work of formidable scholarship but it is also, thanks to the author’s relaxed and informal style of writing, eminently readable and very entertaining.

Peter Parker is the author of “Housman Country: Into the Heart of England” (Little, Brown)

Meetings With Remarkable Manuscripts by Christopher de Hamel is published by Allen Lane (640pp, £30)

This article first appeared in the 22 September 2016 issue of the New Statesman, The New Times