Trevelyon Miscellany

Trevelyon Miscellany

Originating centuries after the invention of the printing press, this early-17th century manuscript is a rare example of a handwritten and illustrated codex from the Early Modern Period. Also known as the Folger Shakespeare Library MS V.b.232, the Trevelyon Miscellany of 1608 is the second of three manuscript miscellanies created by Thomas Trevelyon and is divided into three parts. It is essentially a compendium of information spanning information relevant to England and London in particular as well as Christendom more broadly but is most highly valued as an elaborate pattern book.

Miscelanious Contents

Part 1 consists of historical and practical information including a timeline, calendar, astronomical diagrams and other computational tables as well as a genealogy of William the Conqueror’s descendants and geographic information. A biblical chronology and genealogy as well as a list of British kings and queens is presented in Part 2 while Part 3 contains passages and lists from the Bible complete with illustrations. The most famous section of the manuscript is Part 5, consisting of patterns for embroidery, needlework, woodwork, etc. Many of these patterns are clearly rooted in artistic traditions going back as far as the Hiberno-Saxon art from the Early Middle Ages, the intricate interlace patterns in particular. Finally, Part 5 lists the sheriffs and mayors of London between the years 1190 and 1601.

A Mysterious Author

Thomas Trevelyon (b. ca. 1548) was a designer of embroidery patterns believed to be active in London between the years 1603 and 1616, the respective dates for the first and third editions. Interestingly, he spelled his surname differently in the various editions: “Trevelyon” in the Folger manuscript and “Trevilian” in the Wormsley Great Book. Almost nothing is known about the life of Thomas Trevelyon: not even the date of his death is established and what was once believed to be a self-portrait in the manuscript is actually a stock figure. However, this is consistent with the rest of the illustrations from Trevelyon’s hand, many of which are based on published woodcuts and copperplates.