The Oxford Medieval Mystery Plays 2025

From the Creation to Judgement Day

The Oxford Medieval Mystery Plays 2025 are over – thank you to everyone who made this day possible! Read on for some pictures and impressions of a wonderful day. You can access the full programme and scroll through film stills by the camera team.

The fourth iteration of the Oxford Medieval Mystery Plays took place on 26 April at St Edmund Hall. And it was a truly marvellous day! A total of 13 plays were put on by about 150 participants – actors, directors, singers, costume designers, musicians, and many more. Throughout the day, about 350 audience members popped in and out of Teddy Hall, some staying for shorter periods, others for several hours or the whole day. Audience members and participants included a wonderful range: undergraduate and graduate students and academics from within and without Oxford, a full children’s choir, tourists, and members of the public found their way to Teddy Hall and partook in the medieval shenanigans. 

And what shenanigans they were! This year, we are particularly proud of the incredible diversity of languages, plays, and different approaches on display. But see for yourself … (All photo credits are at the bottom of the post)

The day started – how could it be otherwise – with a trumpet blast from Henrike Lähnemann herself (Picture 1).

Once again, we were expertly guided through the day by Jim Harris, the Master of Ceremonies. Armed with Bruce Mitchell’s doctoral gown and the ceremonial scroll (consisting of the baking roll to the chaplain of St Edmund Hall, half a coat hanger and numerous layers of paper and sellotape), he introduced each play with a modern English prologue (Picture 2).

We began at the beginning, with the creation of the world and The Fall of the Angels, performed mostly in Middle English, but with modern English elements, and in a modern office setting. 

Picture 3: The Holy Trinity is being fawned over by the two good angels … but trouble awaits: the two bad angels are getting arrogant, before their inevitable ejection from Heaven.

From the angels, we moved swiftly on to humans: next was the German Adam and Eve play by Hans Sachs, featuring a particularly good use of the well (the two humps underneath the spare green coat are Adam and Eve, about to be created).

Picture 4: All could be well in Eden, if it wasn’t for Lucifer, Belial, Satan, and the Serpent conspiring. 

Picture 5: Adam and Eve might have fallen into desperation, but the cast have good reason to be proud of themselves, having made it to the front page of both the Oxford Mail and Oxford Times. 

Skipping a few biblical ages, we next saw the Flood, presented in the Middle English Chester version. A particular highlight were the many animals saved on Noah’s Arch: they were expertly portrayed by the children of St Giles’ and St Margaret’s churches.

The Old Testament concluded with the Middle English York version of Abraham and Isaac.

Will he really do it? Abraham is getting ready to sacrifice his oldest son, Isaac (Picture 6) … but fear not! The angel of the lord approaches and shows him a sheep to sacrifice instead – the little guy, hand-crocheted by one of the cast members, rapidly became the true star of the day (Picture 7).

After a refreshing tea break, we moved from the Front Quad into the Churchyard, and from the Old to the New Testament. The fifth play of the day was the Annunciation, or rather Die Eerste Bliscap van Maria (‘The First Joy of Mary’). It was performed in Middle Dutch: a first (but hopefully not last) for the Oxford Medieval Mystery Plays!

Picture 8: The angel Gabriel announces the happy news to the reading Mary.

True to the Gospels, the Annunciation was followed by the Nativity. It was a particular pleasure to welcome back Les Perles Innocentes, who travelled all the way from Fribourg to wow us with their expert performance of the Comédie de la Nativité, written by none other than Marguerite de Navarre.

Picture 9: Mary and Joseph are desperately looking for a place where Mary can give birth. – Picture 10: If the stable looked as gorgeous as the library of Teddy Hall, it surely wasn’t the worst place to be born in!

Our next play skipped ahead, showing us the grown-up Christ at the Wedding at Cana. This play was a world premiere, reconstructed from only 1.5 surviving lines in the York cycle!

Picture 11: Panic at Cana – the wine has run out at the wedding! What to do?

Picture 12: Christ is there to save the day and transforms the water into wine. The servants are amazed!

From Cana, we moved straight to Golgotha and a Middle English performance of the Crucifixion. The York Crucifixion, strangely, is a comedy, and the four soldiers crucifying Christ were accordingly equipped with ‘Cross flatpack instructions’ and giant inflatable hammers. Certainly not inflatable, however, was the cross, which was purpose-built just for this production and turned into a much-coveted prop for numerous plays.

Picture 13: The poor, overworked soldiers struggle to lift up the heavy cross.

Once the soldiers had vacated the grassy mound in Teddy Hall’s Churchyard, the mourners came: the three Marys (the Virgin, Mary Magdalen, and Mary, Mother of John) and John arrived for the Lamentation, represented by the Bordesholmer Marienklage and beautifully sung in a mixture of Latin and Low German.

Picture 14: Owe, owe nu ys he dot

Moving directly from the cross to the crypt, we were told about the Harrowing of Hell by the Choir of St Edmund Hall through sung Latin sequences.

Hell having been harrowed, it was time for another tea break, after which we were welcomed back by the angelic hosts of the Choir (Picture 15). And then it was time for some good news: the Resurrection! Performed in the Middle English of the York version, this play truly had it all: sleeping soldiers, lamenting Marys, bickering priests, and a highly enthusiastic angel.

Picture 16: An outraged Pilate commands the soldiers to find out the truth about the rumours concerning Christ’s resurrection. At least Caiaphas and Annas, the extremely well-dressed high priests, are there to back him up. Picture 17: Mary lamenting at the tomb – thankfully, she, too, receives moral support from the angel.

Leaving the Gospels behind, we moved on to the only non-biblical story of the day: The Martyrdom of the Three Holy Virgins by Hrosvitha of Gandersheim, performed mostly in (absolutely flawless!) Latin, with a few bits in modern English.

Picture 18: Governor Dulcitius has been ridiculed by his prisoners, the holy virgins Agape, Chionia, and Irena … his embarrassment will not go unpunished.

Picture 19: The two older sisters are burned, while the youngest is forced to watch. But never fear: all three will be rewarded in Heaven for their martyrdom.

Last, but by no means least, it was time for … the Last Judgement! Performed in a modern English adaptation of different Middle English versions, this wonderfully cheerful and funny play was the perfect end for a fantastic day.

Picture 20: Hey guys, it’s Gabe! The archangels Gabriel and Michael open Judgement day, while the soon-to-be-raised souls rest in the ditch between library wall and lawn.

Picture 21: Who will get more souls? Jesus and the angels, or Lucifer and the demons?

And … that was it! Thirteen plays, five languages, two tea breaks, and five hours later, we had travelled all the way from the Creation to Judgement Day, from Heaven to Hell, from Bethlehem to Golgotha, and from Front Quad to the far side of the library.

Our heartfelt thanks goes to everyone who made this day possible: on and off stage, casts, crews, organisers, helpers, and so many more. We are particularly grateful to Jim Harris, our Master of Ceremonies; David Maskell, who wrote the modern English prologues; and Tristan Alphey and the other helpers for their support during the day. This year’s Medieval Mystery Plays are by far the best-documented yet: Ben Arthur, James May, Archie Dimmock, and Tea Smart filmed the entire day; their recordings will be released on the St Edmund Hall Mystery Cycle page at a film launch party at the end of Trinity Term. Ashley Castelino took many fantastic pictures, and Robert Crighton and Liza Graham recorded impressions from audiences and participants for their podcast Beyond Shakespeare.

Of course, what a play really needs is its audience. We were delighted to see so many of you there, and overwhelmed by the amount of positive feedback we received. Here are just some of the comments we collected in our visitor book – many audience members had their favourite play from the host of performances: 

“Brilliant! Loved the Nativity especially!” 

“Great job! Love the Wedding feast!” 

“Terrific! Thank you very much. I particularly enjoyed Adam and Eve, and Satan with his acolytes in [the Last Judgement]!” 

“Really enjoyed the camp Satan!”  

“The singing [in the Nativity, Lamentation, and Harrowing of Hell] was superb. Altogether a delightful event!” 

The best audience members are naturally those who were themselves surprised by how much they enjoyed themselves: one person wrote that they had a “very unexpectedly enjoyable day supporting a friend in one play, but then enjoy[ed] all the others!” Many also appreciated the use of medieval languages in keeping these plays “alive” through modern performance and praised the “pace, diversity, and inventiveness” of the troupes, the beautiful medieval setting of St Edmund Hall, and the overall “vibrant and entertaining” environment of the Cycle. One particularly nice comment described our day of performances as “full of whimsy” – made even more whimsical by the little stars they drew around their comment. Thank you very much to each and everyone of you!  

Are you sad you missed out? Can you not wait to get back into medieval drama? Watch this space! The Oxford Medieval Mystery Plays will be back …

Picture Credits

  • Pictures 2 and 7: Ashley Castelino
  • Picture 5: Rahel Micklich
  • Picture 16: Antonia Anstatt
  • Header and Pictures 1, 3, 4, 6, 8-15, 17-21: Stills from the video recordings made by Ben Arthur, James May, Archie Dimmock, and Tea Smart.
The film crew after the day in Queen’s Lane
Screenshot of the OMS Beacons page, featuring logos of all major social media apps

Oxford Medieval Social Media: A Retrospective

Ashley Castelino reflects on his time as Social Media Officer for Oxford Medieval Studies

After two and half years with OMS, my tenure as Social Media Officer is finally coming to an end and it’s time for me to pass on the passwords. As I look back over this weird and wonderful time, here are my top tips for anyone thinking about taking on the job after me.

1. Be Adaptable

When the platform formerly known as Twitter changed hands in 2022, it sparked a period of great turmoil in the social media landscape, a landscape that is now forever changing. In our efforts to keep up with these changes, we have ended up with accounts on Twitter/X, Mastodon, Bluesky, Threads, Instagram, Facebook, TikTok, LinkedIn, and YouTube, each platform coming with different capabilities, priorities, and audiences. Besides these larger structural changes, you’ll want to try to keep up with and respond to rapidly evolving trends as well – some new (very demure, very mindful), some very very old (ancient Babylonian liver divination??).

2. Be Eager to Learn

Oxford Medieval Studies is home to such an incredibly diverse interdisciplinary academic community and, as Social Media Officer, you get a front-row seat to the most fascinating research across literature, history, art, archaeology, theology, music, and much more. From filming and editing a promotional video to finally setting up a TikTok account, this job has also given me the opportunity to learn so many new skills I never thought I’d have. Be warned though: given the extremely diverse demographics of our audience across different platforms, you might find yourself with the extremely challenging task of deciphering teenage slang…

3. Be Creative

Oxford has always been home to some of the world’s greatest medieval manuscripts, art, architecture, and other treasures. It’s no exaggeration to say that it has now also become a leading centre in medieval performance, not least as host of the Oxford Medieval Mystery Cycle. Whether or not you are yourself an artist or a performer, it’s impossible to not be inspired to find new ways to show off everything this city has to offer!

4. Be Collaborative

This is by no means a solitary job – you will be constantly working with academics and artists, colleges, departments, and libraries, medievalists around the world, and even the odd celebrity frog. Academic social media is a vibrant but perhaps overcrowded space, so it’s always worth finding ways to collaborate with other creators across the university. With a view to your future career, you may even make a few extremely useful contacts along the way.

5. Be Persistent

Social media algorithms are complex beasts and it’s very difficult to predict when a post or a video is going to perform well. Sometimes you just have to keep pushing content out into the ether and hope it helps at least one person learn or laugh. Whether it’s compiling extensive summaries of the termly medieval booklet or nudging colleagues to send you material, persistence is always a key part of the job.

6. Be Passionate!

At the end of the day, this job is whatever you choose to make of it, so all that really matters is that you are passionate about medieval studies and want to share that passion with the world. If you are, I would strongly encourage you to consider applying for this role! Have a look at what we’ve done so far – all our social media accounts can be accessed via our Beacons page – and let us know if you have any ideas to help us grow even further. Find out more about applying for the role at https://medieval.ox.ac.uk/2025/04/21/medieval-matters-week-0-update/.

Philip Flacke sitting on a bench reading a pamphlet next to a statue of Lichtenberg

10 Rules for Oxford You’d Regret Not Knowing

Is this your first term in Oxford or have you been here for years? Are you visiting? Or perhaps planning on applying for our Medieval Studies programme?

Philip Flacke completed an internship in Oxford in Trinity 2024, and he’s prepared an important list of 10 rules for Oxford you’d regret not knowing:

  1. Read (oh and watch TV)
  2. Pack lightly
  3. Don’t be afraid
  4. Learn to tie a bow tie – or don’t
  5. Embrace performance
  6. Remain sceptical
  7. Go to church
  8. Work with objects
  9. Don’t forget when it’s time for ice cream
  10. The library is not for talking

Learn more about these rules from Philip’s original post at https://historyofthebook.mml.ox.ac.uk/10-rules-for-an-oxford-internship-youd-regret-not-knowing/

…or just watch him act them out for you below!

@oxfordmedievalstudies

Philip Flacke stars in… “10 rules for @University of Oxford you’d regret not knowing” Filmed by @Henrike Lähnemann #oxford #oxforduniversity #performance #church #icecream #library #medieval #medievaltiktok #göttingen

♬ Charlie Chaplin Music – Piano Amor

This video was filmed by Henrike Lähnemann in the courtyard of the old university library in Göttingen, next to the statue of the philosopher and scientist and aphorist Lichtenberg and adjacent to the repurposed Paulinerkirche. Fun fact: Göttingen had close links to Oxford as founded by one of the King Georges of England and Hanover!

A Ship, A Saga, and a Scholar

Mary Catherine O’Connor

Once upon a time a scholar stepped onto a ship with a saga in hand; it sounds like the recipe for a bad joke, or a half-forgotten tale scribbled in the margins of manuscript come down from the Middle Ages. But this is how a modern-day saga starts, my saga of teaching Old Norse literature and culture aboard the Tecla, begins.

As a second-year DPhil in Old Norse at the University of Oxford’s Faculty of English, my closest encounter with ships and seafaring prior to this year were the terse accounts of Norse voyages and the not infrequently sparse descriptions of ships in the medieval Icelandic sagas. My imagination could skim across the waters of the North Atlantic with Egill Skallagrímson, Óláfr Tryggvason, or Eiríkr hinn rauði but my body was rooted in Oxford. The Turville-Petre room to be exact. 

When the opportunity came to travel as a guest lecturer in Old Norse literature and culture aboard a 1915 traditional Dutch herring drifter, I dropped my pens and grabbed (my metaphorical) sailing boots to join a voyage which would span almost the breadth of the North Atlantic an embark on an adventure through these storied landscapes. 

Figure 2 The Tecla, Greenland

Photo Credits: Mary Catherine O’Connor

Over a six-week period from the beginning of September to the middle of October 2024 the Tecla sailed from Nuuk, Greenland to Ullapool, Scotland, a voyage of over two thousand nautical miles. This was not only a journey through space, but also a journey backwards through time. Sailing from the western end of the North Atlantic to its eastern fringes, the Tecla retraced routes once taken by Norse sailors and traders who plied these waters over a thousand years ago as they sailed from Greenland eastwards to Iceland and on to Norway or south to Scotland. 

The first region the Tecla sailed through, Greenland, was one of the last places to be settled by the Norse. The Vinland sagas tell how Greenland was first discovered and settled by Eiríkr hinn rauði and his followers, but they also recount the first Norse voyages to North America under Eiríkr’s son Leifr and his daughter Freydís. Over the course of the Tecla’s voyage, the sagas, the works of Arí inn fróði, and the Icelandic annals were just some of my literary companions as I lectured on topics ranging from how and why the Viking Age began, the history of the Greenlandic settlements and later on, the Icelandic settlements as we approached Iceland, how the Norse built their houses and farmed, the myths, Christianisation, the laws, how society was organised, weapons, and ships. 

The Greenlandic settlements are also the only Norse settlements which did not survive into the modern era and so much of the discussion onboard during this part of the voyage centred on the environmental and population factors which may have caused the decline of these communities. Witnessing this landscape from the perspective of sailing through it gave me a sense of its hostility to human inhabitation and the fragility of medieval and modern settlements along its coasts.

During this leg of the sailing trip, I had two rare experiences of teaching. The first of these came at the end of the first week of travelling. After seven days of brutal winds, fog, and cold rains, the weather finally cleared enough to move out from the inshore passages and set the sails. The sun blazed from clear skies and the ice cap sat almost at the water’s edge amidst grey gravel banks deposited by the receding glaciers on the coastline while the wind whistled through the stay sail and mizzen sail. The Tecla was skimming the water’s surface and finally, I understood the joy of sailing. 

For this day’s lecture, I decided on a change of scenery. I typically gave lectures in the salon where the guests and I could shelter from the weather and I had a the use of a projector. However, I realised that few things beat being outside on a sailing boat when the weather is on your side. And what is more, even fewer things beat sitting on a traditional sailing ship with a saga in hand talking about Norse history while the Greenlandic coast slides by. 

Figure 3 Me, sailing and teaching outside aboard Tecla as sail down the Greenlandic coast 

Photo Credits: Jorrit Harrsema

The second, and very much surreal, teaching experience during the Greenlandic leg came when the Tecla anchored off Hérjólfsnes and everybody on board went ashore. Hérjólfsnes is a very small headland jutting out into the waters at the mouth of a fjord system close to Greenland’s southern tip. The remains of a longhouse built around a thousand years alongside some smaller buildings including the remains of a chapel built later litter the bare headland. According to the sagas, Hérjólfr Barðarson was amongst the first settlers to Greenland and Hérjólfsnes has been identified as the location of his farm. Unlike the more touristic and developed Eiriksfjorðr, Hérjólfsnes stands bare of tourist trails, modern glass heritage centres, and queues of tourists. The headland is extremely beautiful, but also well positioned along sailing routes, and it is easy to see why it was chosen for a farm site. Located at the edge of a fjord, ships could stop by bringing goods and news as they travelled north to the Western Settlement or could refuel before making the crossing to Iceland or perhaps Norway. 

The farm has been left more or less untouched for a thousand years. It is exposed to the raw elements of the weather with nothing but a little sign and an archaeological site plan to indicate its importance. Standing at the threshold of the longhouse I could finally bring to life how longhouses were built how people may have lived and farm in a place like Hérjólfsnes. To be able to stand in such an important archaeological site is a rare experience of history and it is only by stepping into places life Hérjolfsnes that I truly gained a sense of how special these places are.

Figure 4 Herjólfsnes, Greenland

Photo Credits: Willemijn Koenen

During the second leg of the voyage and with a new group of passengers, I turned the focus of my lectures to the Norse settlements on the other side of the Atlantic: Faroes, Shetland, Orkneys, and Hebrides. These islands too are their share of stories and so my attention was turned to the worlds of Færeyinga saga, Orkneyinga saga, and the many references to travellers from these islands in the Icelandic Family sagas. With the exception of Faroes, these islands are places with long histories of settlement before the arrival of the Norse. The pattern of Norse settlement here therefore varies immensely from the history of the farmsteads in Greenland and Faroes which were unoccupied before the Norse made their homes there. The islands off the coast of Scotland have been inhabited for at least 4500 years and the traces of these earlier communities are scattered across the landscape. Stone circles, howes, brochs, wheelhouses, and barrows create a landscape imprinted with human touches reaching down through history.  In many places, the Norse built their houses on top of these earlier sites and so these places offer a window into how the Norse negotiated and co-existed with the people who came before. 

Figure 5 Kallur Lighthouse, Kalsoy, Faroes

Photo Credits: Gijs Sluik

The first stop after Iceland was Faroes. This small group of islands, standing out in the Atlantic about halfway between Norway and Iceland, was home to Norse communities from about 800 AD. On the island of Straumoy I moved my lecture theatre once again into the open air and took the group to Kvivík, an excavated longhouse with an adjacent cow-byre. This was once a high-status settlement dated to 1000 AD and gives a sense of what an important farm in Faroes might have looked like. 

Figure 6 Kvívik, Streymoy, Greenland

Photo Credits: Mary Catherine O’Connor

A few days later, we arrived in Shetland into Burrafirth on Unst. In the neighbouring bay, Haroldswick, there is a reconstruction of a longhouse, and a longship modelled on the Skidbladner. Ships were the lynchpin of Norse expansion and the Viking Age and it was here that I had the perfect teaching materials to show Norse technological innovations in shipping and to explain why these ships were so successful for raiding and travel. Although they are a far remove from modern ships and experiences of travel like on the Tecla, the reconstructed ship on Unst serves to highlights the dangers and risks of this kind of travel but also the successes of Norse ship-building. 

On Mainland, Shetland I took the group to Jarlshof. Jarlshof was first inhabited about 2500 years ago when the first broch was built there. Late on, Pictish wheelhouses were built on top of the earlier brochs and then even later, the Norse built longhouses at the same site. The site offers multiple layers of time through its excavated sections and illustrates the different ways people thought about architecture and living in the same place in the landscape.  Bringing the group to Jarlshof was important in highlighting the way in which the Norse settlers took over earlier sites of importance in communities but also to show how they imprinted their culture and power structures onto the lands they settled. 

Figure 7 Longhouse, Haroldswick, Unst, Shetland

Photo Credits: Mary Catherine O’Connor

St Magnus, an earl of Orkney, was killed by his kinsmen in a feud, and later canonised as a saint. His cult quickly spread across Orkneys and Shetland during the medieval period and the traces of his importance to people’s lives are reflected in the numerous churches dedicated to Magnus throughout these isles. In Orkney, on the isle of Egilsay, Magnus was betrayed and murdered by his cousin Hakon Paulsson and the island became a local pilgrimage site attracting visitors for centuries. It was to Egilsay that we too made a journey to the island from where the Tecla was docked on Rousay. Switching from my previous classrooms of longhouses and ships, the remains of St Magnus’ church became my latest classroom. Amidst the grey walls of the holy site where people once learned about the word of God, I taught about the history of Christianity in the Orkneys and the life of St Magnus as it is found in Orkneyinga saga

Figure 8 St Magnus Church, Egilsay, Orkney

Photo Credits: Mary Catherine O’Connor

The Hebrides were the last group of isles to pass through before the Tecla arrived at her final port in Ullapool. By the time the Norse arrived in the Hebrides these islands were heavily Gaelicised by the Irish kingdom of Dal Ríada. The Norse anchored fleets in the Hebrides for raids south into the Irish Sea and control of the islands was frequently contested by the Norse of Dublin and Man and the Norse in the Orkneys. One of the most important sources of evidence for Norse occupation in Scotland are the placenames. Shetland and Orkneys are almost entirely dominated by Scandinavian place-names whereas the Hebrides have a wide mixture of Gaelic and Norse place-names. Travelling through these islands, I delved into the theories of why the Norse did not culturally dominate the Hebrides as they did elsewhere in the Scottish isles and explained some of the theories about the early patterns of Norse raiding and occupation in this area.

Standing aboard the Tecla, a traditional sailing ship, with a saga in hand in the North Atlantic is a rare experience of history and of seeing the world the Norse explored and inhabited a thousand years ago. As an Old Norse DPhil student, to teach Norse history and to share a little of my passion as we sailed through the North Atlantic was an even rarer gift and perhaps a stranger saga of modern times that is only possible thanks to Tecla, her crew, and her captain. Sailing while teaching with sagas was a new experience for me working in public engagement but it is something that I have found great joy in and look forward to finding more ways to bring my work and the wonders of the medieval Icelandic sagas to audiences beyond academia. 

Main photo: The Tecla, Prince Christian Sund, Greenland. Photo Credits: Mary Catherine O’Connor

Epiros: The Other Western Rome, Workshop 8th-9th November 2024

On Friday 8th and Saturday 9th November, the online workshop Epiros: The Other Western Rome was held, platforming twenty-one papers from sixteen universities. As the second phase of a new international project, the workshop investigated the Byzantine successor-state of Epiros (1204–1444). Formed from the Fourth Crusade, this Balkan state existed as an alternative narrative and third Byzantine-Roman context, encompassing a vast variety of peoples of the former empire.

Originally envisioned as a one-day workshop, the programme was expanded to two days to accommodate so many excellent submissions. As a result, we were able to offer panels on, The ‘Post-Komnenian System’, ‘Epiros and Bulgaria’, ‘Epiros and its other Neighbours’, ‘Network Analysis,’ ‘Hybrid Material Culture,’ and more. The workshop’s convenors are hugely grateful for the participation of speakers and attendees, as well as the support of both The Oxford Centre Research Centre in the Humanities (TORCH) and the Oxford Centre for Byzantine Research (OCBR).

An edited volume of papers is planned, and a selection of images below.

Reliquary Pendants, Past and Present

By Caroline Croasdaile in conversation with Mickey Alice Kwapis, Contemporary Artist and Jeweller of Meaningful Material

Medieval Material

A small piece of stone, a snippet of fabric, a tiny lock of hair. All of these materials would be just as at home within a hollow late medieval pendant, as in a sentimental locket made weeks ago. What is it about these things, detritus in any other context, that makes them more precious than their gold or jewelled containers? Why have people throughout time collected and enclosed these materials as special, religious, magical, or memorial in containers that they wear close to their bodies?

These are some of the questions that are explored in my D.Phil. dissertation entitled, Wearable Containers of Meaningful Things: English Late Medieval and Early Modern Jewellery to Enclose, Conceal, and Enshrine. It is in this project that I examine artefacts like pendants and rings, and the changes this unique type of object undergoes, particularly in light of the Reformation. While medieval examples of these objects have widely been labelled ‘reliquaries’, the startling variety of their contents includes coins, hair, plant matter, textile, stone, or textual amulets. The diversity of their contents has opened the door for a wider consideration of what exactly is a ‘relic’, and what ‘relic-making’ or memory-making practices medieval people engaged in. Not everyone had access to the body parts or materials of saints in the late medieval period, which were often closely guarded in the treasuries of churches. However, medieval people could draw on the blessings of priests, tokens obtained through pilgrimage, or the ritual of prayer to create or enhance special materials to be worn in aid of devotion or to protect the body. During my research, I was struck by the stark similarities that present-day sentimental jewellery holds with these medieval artefacts. While their contexts of belief may be different, many of the types of materials contained are the same, and are similarly capable of capturing big ideas, world-views, and emotions, within tiny interior spaces. 

Pendant containing a drop of blood caught on a tiny piece of tissue paper. By Mickey Alice Kwapis. Photo courtesy of Mickey Alice Kwapis. 

The Hockley Pendant, British Museum: 2012,8046.1, English, c.1500-1550, gold, 3x25mm. Portable Antiquities Scheme (PAS): ESS-2C4836. The engravings on this hollow pendant depict devotion to the bleeding wounds of Christ. Its edges are inscribed with the names of the three magi, which were recited or used in magical charms. This pendant was found to contain unprocessed flax stem pieces. It was recovered near Hockley, Essex. Rights Holder: The British Museum https://creativecommons.org/licenses/by/2.0/.

Mickey Alice Kwapis: Contemporary Material 

Mickey Alice Kwapis is an American artist living in Chicago who specialises in the creation of  jewellery, stained glass, taxidermy, and cyanotypes. Her work explores aspects of death, grief, and the natural world. As part of her practice she makes tiny precious lockets, which can be used to contain almost any kind of meaningful material for her clients, who send or provide her with these fragments from their lives. She has kindly agreed to answer some questions I have posed to her in Q&A format regarding her locket pendants. While we cannot query the original makers of medieval objects, her thoughts on her own work provide a useful point of entry for thinking about the enduring and very human act of curating meaningful material, and the desire to carry and wear these things on the body within objects of jewellery. 

Q&A: 

What first inspired you to begin making pendants that serve as containers for meaningful material(s)?

When I was 22 my Aunt Beth passed away unexpectedly. I had already been making jewellery using glass vessels containing things like squirrel teeth, mouse tails, and dandelion seeds so as the funeral services were wrapping up it just felt natural to grab a few different flowers to dry for eventual use in my work. I ended up making a locket for each of the women in our family so they could have something to hold onto.

Are you interested in, or have you looked to historical examples for inspiration for making this kind of object? If so, do you have a favourite historical piece, period, or influence?

I really enjoy looking at Edwardian and Victorian-era mourning jewellery, mostly containing hair, on eBay. They aren’t hugely historically significant pieces on their own, but each one was handcrafted to celebrate someone’s love, life, or both and I think that’s incredibly beautiful. I grew up Catholic so I’m fascinated by stationary and wearable reliquaries. As a kid I loved learning about the Ancient Egyptians’ mourning and burial rituals including canopic jars. The influence of Egyptian art on the Victorians especially, and now the revival of the Victorian mourning tradition in modern times, follow a thread through human history of wanting to remember those we have lost through preserving them in some tangible way.

What are some of the materials, common or unusual, that people have sent you to be included in pendants?

Most commonly I receive orders for memorial jewellery made with cremated remains, pet hair, and human hair — after all, they’re literally parts of our loved ones so they are obvious choices when it comes to honouring their lives. Some of the less traditional materials I have gotten to use in mourning lockets include broken Fiestaware, a drop of blood on tissue, dyed eggshells from Easter eggs, the bristles of a paintbrush, pottery glaze powder, and a plethora of other incredible materials truly unique to those being remembered. I have helped women celebrate their friendship with a matching set of lockets with sugar from their favourite diner, made pieces for brides containing pieces of their bouquets and lost sequins from their dresses, and honoured hardships with soil reliquaries from sold family homes and pieces of brick from a house fire. Getting to make each one is an honour beyond words.

What are the key steps that go into crafting these lockets, and what are some challenges that this medium presents? What skills as an artist do you draw on?

The hardware for each locket is made using the lost wax casting process and once finished, the materials are secured beneath precision-fit watch crystals that I had specially manufactured to fit my lockets. I took my first metalsmithing class at 14 and have just been building on that skill set ever since so it feels like second nature at this point. When it comes to handling each client’s materials, some require special PPE — especially powdered materials like pigments.

Do you have a memorable or surprising background story or narrative that someone has shared with you about why they have chosen a certain material for inclusion in a locket?

I love the stories behind every single request I get, because the stories are just as personal as the materials being used. Many of them are bittersweet so I’ll share one that’s not: I received an order for a locket containing sand, for an Egyptologist who had recently returned from an archaeological dig. She didn’t bring the sand home on purpose (as it’s highly frowned upon to take materials from dig sites) but it’s impossible to live in a tent in the desert for weeks at a time and not track at least a little bit of sand everywhere you go. Once she was back home in the US, she found sand inside the lining of her suitcase while unpacking and decided to send it my way. 

Have you made lockets for your personal use and ownership, and are you comfortable sharing what these are and what they mean to you?

The first ones I made were in memory of my Aunt Beth, with flowers from her funeral. After my Great-Grandma Mickey passed in 2020 I made myself a locket containing soil and sand from three different places on Belle Isle, an island park in Detroit where we spent lots of time in our respective formative years as well as time together. Not too long after, I dropped a mug that had belonged to my Uncle John, who died by suicide but is still listed as a missing person — there was no funeral, no body to say goodbye to. I had the mug repaired using traditional kintsugi practices but the artist did not need the smallest shards of ceramic that broke off and I couldn’t bear to throw them away so I kept them and made a locket with that. I also have lockets containing a fossil my mom found on the beach, and one with a tiny gummy bear that reminds me of my dad, fishing flies and raw sapphires from a trip to Montana I took with a friend. My beloved cat Phil just passed away and I plan to make a locket with his soft orange fur under one lens and his white fur under the other. When you see me in public, I make jingling noises from my jewellery. I’m basically a walking advertisement for my work at this point.

The lockets that you produce are visually accessible, but intended to remain sealed. This is in contrast to the other forms of lockets both contemporary and historical. What led to this choice? 

Many modern jewellery makers utilize epoxy resin to contain materials like hair or ash, but it is a relatively new technology. This material can begin to yellow quite quickly and it also permanently alters the sentimental material, making it unrecoverable. My lockets, though sealed closed, function as containers for the free-moving materials inside and in theory could be smashed or cut open to recover the materials should the owner ever wish to do something else with them. 

Ash and tooth in sterling silver. By Mickey Alice Kwapis. Photo Courtesy of Mickey Alice Kwapis

How do you understand the role of memory and its connection to material in your work?

Our memories of the past are a big part of what informs who we become in the present day, and the people or things we have lost or experienced along the way are also part of us. Having a piece of memorial jewelry that can be worn day-to-day helps remove our lost memories from the abstract and brings them into the present in a tangible form.

Hundreds of years from now if an archaeologist, museum, or curious collector were to find one of your lockets what is something you would want to tell them about your work to help them understand it?

Humans across millennia have collected and saved sentimental things, and I would hope that centuries or millennia from now we are not so disconnected from each other and ourselves that we can’t recognize the merit of a sentimental object. I think if anyone knew the back story of any single one of my pieces, from the history of the material itself to its meaning and impact on the person who commissioned it, the archaeologist would have the same feeling that I get making my work and looking at it now. After all, memory is something that ties all of us together.

Agnus Dei Pendant, English, c.1400-1540, gilt silver, PAS: GLO-43B24A. This pendant was found to contain, ‘fragments of a woven fabric’ and ‘thick layers of fine white strands that are most likely hair’. There is evidence for a broken-off attachment loop on the upper edge. Recovered in Gloucestershire. Rights Holder: Bristol City Council, https://creativecommons.org/licenses/by/2.0/.

Links to the website and work of Mickey Alice Kwapis: 

https://www.mickeyalicekwapis.com/about

https://www.instagram.com/kwapkwapkwap

Croasdaile, Caroline, 2025, Wearable Containers of Meaningful Things: English Late Medieval and Early Modern Jewellery to Enclose, Conceal, and Enshrine, Oxford: University of Oxford (D.Phil. Thesis, forthcoming) 

Further Reading: 

Cherry, John, 1994, The Middleham Jewel and Ring, York: Yorkshire Museum. 

Husband, Timothy B., 1992, ‘The Winteringham Tau Cross and Ignis Sacer’, The Metropolitan Museum of Art Journal, vol. 27, pp. 19-35. 

Jones, Peter Murray and Lea T. Olsan, 2000, ‘Middleham Jewel: Ritual, Power, and Devotion’, Viator, vol. 31, pp. 249-290. 

Writing for Oxford Medieval Studies

Medieval Studies at Oxford is a venerable and traditional sort of enterprise. We’re used to working with the Bodleian’s centuries-old manuscripts and its worthy, weighty tomes. But how to communicate our expertise in our areas of interest to a wider audience – and, indeed, to each other? 

We on the OMS steering group would like to encourage all of you within our community to consider writing for us here on our blog.  The OMS website exists to help us learn about the exciting research going on all around the collegiate University, as well as to bridge the gap between scholarship and public engagement.

Blogposts offer a unique platform to distil complex concepts into accessible, attention-grabbing pieces. They can showcase ongoing research, spark discussions, and even attract potential collaborators (or students) to the field. Their immediacy allows us to reach busy colleagues, to break down our proverbial ivory tower, and to respond swiftly to current events (for instance, by drawing parallels between medieval history and contemporary issues).

Writing for OMS can also be a springboard to wider engagement or to pitches to external websites and media publications such as The Conversation

Please get in touch to pitch your research and your ideas so that we can grow interest in our discipline and strengthen the links within it. The rest of this post sets out some ‘dos and don’ts’ for blog-posting – and, indeed, other public writing. We hope you will find them useful as you articulate your passion for all things medieval. It would be our pleasure to put that passion into print. 

Pitching:

The pitch for any piece of public writing needs to be brief and arresting. It should grab the editor’s attention. They need to see the point, and the relevance, immediately. Find the hook. Do you want to write about this subject because it is timeless or topical? Has something happened in the world that your medieval expertise can speak to? Why is your work fascinating for educated readers, or important for the advancement of knowledge or debate as a whole? 

200 words is always plenty.

Writing:

Blogposts need to be written differently from academic prose. They can be far less formal (colloquialisms and first-person speech allowed). They need a simpler readable style. Short sentences are your friend – but so too are more nuanced, complex ones, interspersed amongst them. Avoid excessive jargon and technical terms. However, don’t underestimate you readers either (many of them will be studying, or have studied, at Oxford!). Signal aims and objectives clearly in the introduction. Give concrete examples to illustrate your points. Write a conclusion with a twist.

Titles and subheadings:

Breaking up your text is always hugely helpful to readers, even in a post as short as 800 words. We all have such short attention spans these days. Titles and subheadings need to be intriguing, to draw a potential reader in. But they also need to be informative: where is this piece going? Rhetorical questions can be useful, so long as they are not overdone. A good editor will help you bring out substance even as you polish the style.

Images:

A picture can speak a thousand words. Make sure you include at least a feature image for your post’s header. However, two or three within the blogpost’s body will almost always make it better. Remember to have reproduction permissions for images that have copyright, and to caption and credit all images accurately. 

Word Count:

Oxford Medieval Studies is interested in posts between 800 and 1,500 words in length. Any shorter and you will have hardly had space to develop your thesis. Any longer and you are halfway towards that elusive academic article. As with those famed five-minute ‘elevator pitches’, less can be more when you’re trying to get yourself across.

Image: Late 15th-century miniature of the author and translator Jean Miélot (d. 1472), Bibliothèque Nationale de France.

The Oxford Medieval Manuscripts Group

By Mathilde Mioche

The Oxford Medieval Manuscripts Group (OMMG) is a collective of eight postgraduate students and early-career researchers who bonded in Oxford over their passion for medieval manuscripts. We host a seminar series through which we hope to gather a community of emerging scholars, from the University of Oxford and beyond, around the study of medieval books and the art of illumination.

Starting in Hilary Term 2024, OMMG seminars will take place twice monthly on Friday afternoons. We will discuss the most exciting recent research; share our own projects and ideas in a supportive environment; learn from lectures and tutorials given by experienced colleagues; and examine medieval manuscripts together during library visits.

By promoting exchange between scholars with diverse specialisms and different levels of experience, OMMG aims to turn the study of medieval books and illuminations into a more collaborative pursuit. We know that working with manuscripts is often a solitary business, where knowledge is acquired over silent and cautious one-on-one meetings with a delicate object. We want to share the wonder we experience before the material, visual and textual complexity of illuminated codices, as well as the interrogations or frustrations we have as we encounter obstacles in our research. The OMMG seminar series will provide manuscript enthusiasts with a stimulating platform for learning practical and analytical skills from peers as well as experts. We would love you to join us!

To subscribe to our mailing list, participate in library visits, propose a presentation of your research for work-in-progress meetings, or submit any queries, please write to: Elena Lichmanova.

Programme for MT 2024 (Fridays, 5pm, Merton College)

Week 1 (18 Oct, 3pm, Weston Library)  Andrew Honey | Bodleian Library: Cataloguing Medieval Bookbindings at the Bodleian: Manuscripts from Reading Abbey as a case study. Limited places, write to the email below by 16/10/2024 

Week 3                       Work in Progress Meeting Hawkins Room
1 November               
We are still accepting applications. If you would like to present your work in progress and receive our feedback, write to the email above by 28/10/2024

Week 4                       Reading Group: Audience and the Senses
8 November               K. Rudy, ‘Introduction’, Touching Parchment: How Medieval
ONLINE                       Users Rubbed, Handled, and Kissed Their Manuscripts (vol. 2, 2024)
Write to the email    E. Duffy, ‘Ch. 1. A Book for Lay People’, Marking the Hours: 
above to join             English People and Their Prayers, 1240-1570 (2008)

Week 5                       The New College Library Visit
15 November            Study and Discussion of Illuminated Manuscripts
                                   
Limited places, write to the email above by 8/11/2024

Week 7                       Eleanor Jackson | British Library
29 November            Medieval Women in Their Own Words: 
Mure Room                Curating the British Library Exhibition 

Week 9                       Bonus: Casual trip to see the ‘Medieval Women in Their 
14 December             Own Words’ exhibition at the British Library together
Saturday noon           
Write to the email above to join

About Us

Irina Boeru is a third-year DPhil student with a background in Medieval and Modern Languages and Medieval Studies. Her research analyses travel narratives in French and Latin illuminated manuscripts, specifically chronicles of the fifteenth-century conquest of the Canary Islands.

Fergus Bovill graduated with a BA in History of Art from the University of York. He is currently pursuing an MSt in Medieval Studies, with a dissertation on the assemblage of medieval manuscript cuttings into albums by nineteenth-century bibliophiles and connoisseurs.

Charly Driscoll completed an MSc in Book History and Material Culture at the University of Edinburgh and is now studying for a DPhil in Medieval English. Her project investigates how the material features of medieval manuscripts reveal their individual histories.

Elena Lichmanova is a third-year DPhil student with a background in History of Art and Medieval Studies. Her research examines the origins and early history of marginalia in medieval manuscripts, focusing on illuminated English Psalters of the thirteenth century.

Mathilde Mioche completed an MSt in History of Art and Visual Culture with a dissertation on illuminated Insular Gospels. She is currently preparing a doctoral project on the formal and medial mutations of the Dance of Death since its emergence in the fifteenth century.

Ana de Oliveira Dias is a historian of early medieval visual and intellectual culture with a specialisation in manuscript studies. She received a PhD in Medieval History from Durham University in 2019 and is now a Postdoctoral Research Associate in the project Crafting Documents, c. 500—c. 800 CE at the University of Oxford.

Celeste Pan is a third-year DPhil student with a background in English and Medieval Studies. Her research considers the production of illuminated Hebrew manuscripts in medieval northern Europe, specifically a group of liturgical Bibles from the Rheno-Mosan region.

Klara Zhao is a first-year MPhil student in Egyptology preparing a dissertation inspired by Umberto Eco’s Infinity of Lists. She developed a special interest in medieval French poetry during her BA in French and Linguistics, which she continues to nurture.

Image: Saint Augustine teaching. Paris, Bibl. Mazarine, MS 616, fol. 1r.

Sheep Liver Divination for US Election

Explanation of the result of the inspection of a sheep liver in the Old Library of St Edmund Hall. Dr Selena Wisnom (Leicester) researches ancient Mesopotamian divination, and asks the question: Will Donald Trump win the 2024 US election?

You can watch the inspection in this video:

Inspection of the sheep’s liver in the kitchen of The Queen’s College, Oxford
Explanation of the results in the Old Library of St Edmund Hall, Oxford

and you can watch the alternative Babylonian reading in this video:

Alternative reading of the result

Disclaimer: the extispicy is for entertainment and research purposes only!

Dr Wisnom held a Junior Research Fellowship in Manuscripts and Text Cultures at The Queen’s College, Oxford from 2016-2020 and is currently Lecturer in the Heritage of the Middle East at the University of Leicester.

Vǫluspá: An Original Poetic Translation and Performance by Clare Mulley

The long wait is over! We are extremely excited to finally present a complete video recording of the Old Norse eddic poem Vǫluspá (The Seeress’s Prophecy) by Clare Mulley:

This was the premiere performance of Vǫluspá by Clare Mulley, which took place at The Oxford Story Museum, in honour of the third Old Norse Poetry and Performance Conference (Oxford, June 2023). This was later followed by a repeat performance at The Aarhus Old Norse Mythology Conference (November 2023), and both performances have since aided and inspired other exciting projects by scholars and artists alike. This is just the beginning of a larger exciting project, so keep your eyes peeled for more!

Professor Terry Gunnell of the University of Iceland wrote of this performance, “Clare Mulley’s Vǫluspá is a multi-dimensional work of art that steps off the page to touch the lives of its twenty-first century audiences. Based around a new, creative, free translation of the original Old Nordic work, and effectively given additional depth by the atmospheric musical of Kjell Bråten, Mulley’s powerful presentation returns the poem to its original conception as a piece of essentially oral poetry, something designed to perform in both space and time. Like the original, which it builds on while retaining creative freedom, the translation is couched in striking musical, alliterative language and rhythm, evoking stark images of the original creation and eventual destruction of the world. Firmly touching the ancestral past of the ancient work, this is a presentation that simultaneously effectively draws on the present. It is something that needs to be experienced.”

The performance features soundscapes, backing vocals, accompaniment and sound recordings by musician Kjell Braaten.

It was filmed by Natascha Domeisen and edited by Ashley Castelino, with the support of Oxford Medieval Studies (OMS) and The Oxford Research Centre in the Humanities (TORCH).

Read more about Clare’s experience interpreting, translating and performing the poem here: https://medieval.ox.ac.uk/2024/01/15/voluspa-a-performative-journey/.