Il y aura un quiz sur le vocabulaire
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Until now, that is. British Library curators have long followed the mantra that nothing within the library should be inaccessible to the public (though in many cases, one has to apply). Their plan to digitise all the manuscripts – and place the high-quality, full-colour, completely-zoomable-down-to-the-last-animal-pore pages online for free – will make this much easier. “It’s a transformational thing … These are national, international, treasures,” says Claire Breay, head of medieval and earlier manuscripts. “Anybody can enjoy them whether they are the leading academic on some aspect of that manuscript … or a schoolchild doing a project.” Two hundred of the highest-profile and most valuable manuscripts in the collection are currently undergoing digitisation. The six photographed exclusively for the FT can be viewed online from today, the first time readers all over the world will be able to see them in full. Among them is the Spanish “Silos Apocalypse”, as vivid and well-preserved as if the monk had just stopped for lunch. “You couldn’t go down to WH Smith and get that kind of yellow felt tip pen,” says Julian Harrison, curator of pre-1600 manuscripts. You’d have a similarly hard time finding the ink for the ninth-century “Harley Golden Gospels”, written in gold. But the books offer us more than aesthetics. “The thing about medieval manuscripts is they’re about the whole range of human knowledge from the middle ages – history, literature, philosophy, religion, art … They are the primary sources for knowing about that period of history,” says Breay. The ultimate example of this is the Leonardo da Vinci notebook – complete with mirror handwriting, astronomical drawings and doodles that are actually an early study for the “Virgin of the Rocks”. 
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