Anthony Roll - History of The Manuscript

History of The Manuscript

The "ship portrait" had a long history in maritime art, from medieval seals and coins to early engravings in the 15th century, and the plain side-on view of a ship under sail, often with no crew shown, was well established as the most effective way of recording the build of vessels. The Anthony Roll belongs to a genre of works that was intended to serve a dual role for the king and the military leadership: as reasonably informative overviews listing details of ships or strategic areas of coastlines they could be studied to determine strengths and weaknesses, and as boastful and lively depictions of Tudor military might they could be used to flatter the king, impress courtiers and impose martial authority on foreign ambassadors. Contemporary maps, or "plats", were routinely decorated with detailed pictures of ships, to mark bodies of water as much as to liven up the scenes. Such maps were common at the time, and were even embellished by artists if deemed too simple or drab. The navy was expanded during King Henry's reign, and he was known to take an interest in warships, as can be seen by the epic painting Embarkation of Henry VIII at Dover which portrayed, if rather unrealistically, the ships that took the 29-year-old king to the summit meeting with Francis I at the Field of the Cloth of Gold in 1520. This painting, recently dated to around 1545, has also been suggested as a likely source of inspiration to Anthony for his illustrations.

There are three such plats depicting naval actions and expeditions that are attributed to Anthony: the route of Anne of Cleves from the Low Countries to England (1539), a French attack on a coastal fort (date unknown) and a French raid on Brighton (July 1545). The design of the ships in these paintings, especially that of the Brighton raid, closely match those in the rolls. It is not known exactly when work on the rolls began nor when it was finished. It is only certain that it was presented to the king the year it was dated, 1546. The inclusion of the Mary Rose that sank at the Battle of the Solent 19 July 1545 does not mean it was necessarily started before this date, since it was still considered possible that she could be raised even as late as 1549. The galleasses, the Antelope, Hart, Bull and Tiger, all present in the second roll, were still being built around March 1546, and the Hart was not at sea until October that year. At the same time the Galley Blanchard, captured from the French 18 May 1546 is not included.

After the rolls were presented to the king they were archived in the royal collections. In 1680 Charles II gave two of the rolls to Samuel Pepys, a navy administrator and avid book collector. Pepys did not disclose the details of how the rolls were given to him, but it is believed that the gift came out of a meeting with King Charles where Pepys took down the king's account of how he escaped from the Battle of Worcester (1651). The plan was that Pepys would edit and publish the already famous story, but he never did so. It is also known that Pepys was planning to write a history of the navy and that he was gathering material for this task, but this project also was never finished. It is considered likely that King Charles was aware of Pepys' plans and presented him with two of the rolls either as a gift or as payment for the intended publication of the escape story. The second roll could not be located at that time, and it was not until 1690 that it was discovered by Henry Thynne, keeper of the royal library 1677–89 and a close friend of Pepys. Thynne arranged for Pepys to make copies of some of the illustrations, but by 1690 Charles was dead and James II was in exile. Pepys had resigned from his position as Secretary of the Admiralty that same year and refused to recognize the reign of William and Mary, which meant that acquisition of the final roll for his collection was out of the question. The creation of the codex from the first and third rolls is therefore assumed to have been completed shortly after that time. After Pepys' death in 1703 his library passed on to his nephew John Jackson. After the death of Jackson in 1724 the library, along with the codex, was then passed on to Pepys' old college at Magdalene, Cambridge, where it remains to this day.

The second roll was presumed lost by the 1780s, but actually remained in the hands of the royal family. William IV gave it to his daughter Mary FitzClarance, one of his illegitimate children by the courtesan Dorothea Jordan, sometime in the early 19th century. In 1824, Mary married Charles Robert Fox, a major-general and from 1832–35 an officer of the surveyor of the ordnance, the same position Anthony Anthony had three centuries before him. Fox was a bibliophile, and historian Charles Knighton has suggested he knew the value of the roll, but its location nevertheless remained unknown to scholars. In 1857 Frederic Madden, keeper of manuscripts at the British Museum, was shown the second roll and learned that Mary wished to sell it. After negotiations it was sold for £15 to the British Museum and was numbered Additional MS 22047. It was kept in its original format as a roll and has been stored in the British Library's manuscript collection at St Pancras, London since 1999.

The Anthony Roll has been used frequently as a primary source for histories of the English navy of the 16th century but the full text and all illustrations were not collected in one volume until 2000.