MODERN MAGIC UNLOCKS
MERLIN’S MEDIEVAL SECRETS
Fragments of a rare Merlin manuscript from c. 1300 have been discovered and digitised in a ground-breaking three-year project at Cambridge University Library
A fragile 13th century manuscript fragment, hidden in plain sight as the binding of a 16th-century archival register, has been discovered in Cambridge and revealed to contain rare medieval stories of Merlin and King Arthur.
The manuscript, first discovered at Cambridge University Library in 2019, has now been identified as part of the Suite Vulgate du Merlin, a French-language sequel to the legend of King Arthur. The story was part of the Lancelot-Grail cycle, a medieval best seller but few now remain.
There are less than 40 surviving manuscripts of the Suite Vulgate du Merlin, with each one unique since they were individually handwritten by medieval scribes. This latest discovery has been identified as having been written between 1275 and 1315.
The inner front cover of the manuscript as it was discovered. Seen here are some of the folds, including flaps and turn-ins, making reading and accessing the text hidden beneath particularly difficult without damaging the material.
The inner front cover of the manuscript as it was discovered. Seen here are some of the folds, including flaps and turn-ins, making reading and accessing the text hidden beneath particularly difficult without damaging the material.
The manuscript had survived the centuries after being recycled and repurposed in the 1500s as the cover for a property record from Huntingfield Manor in Suffolk, owned by the Vanneck family of Heveningham.
It meant the remarkable discovery was folded, torn, and even stitched into the binding of the book - making it almost impossible for Cambridge experts to access it, read it, or confirm its origins.
What followed the discovery has been a ground-breaking collaborative project, showcasing the work of the University Library’s Cultural Heritage Imaging Laboratory (CHIL) and combining historical scholarship with cutting-edge digital techniques, to unlock the manuscript's long-held secrets - without damaging the unique document.
A delicate discovery
Dr Irène Fabry-Tehranchi, French Specialist in Collections and Academic Liaison at Cambridge University Library, was among those who first recognized the importance of the find.
"It was first thought to be a 14th century story about Sir Gawain but further examination revealed it to be part of the Old French Vulgate Merlin sequel, a different and extremely significant Arthurian text."
As every manuscript of the period was copied by hand, it means each one is distinctive and reflects the variations introduced by medieval scribes.
This one is believed to belong to the short version of the Vulgate Merlin, and small errors—such as the mistaken use of the name "Dorilas" instead of "Dodalis"— will help Dr Fabry-Tehranchi and her colleague Nathalie Koble (ENS Paris), to trace its lineage among surviving manuscripts.
The outer right cover, photographed in standard conditions as seen by the naked eye, shows the wear and tear sustained over the centuries, including a band of faded text around the middle, crumples and tears.
The outer right cover, photographed in standard conditions as seen by the naked eye, shows the wear and tear sustained over the centuries, including a band of faded text around the middle, crumples and tears.
The way the manuscript has been carefully executed, with decorated initials in red and blue, gave further clues to its origins and helped indicate that it was produced between the end of the 13th and the beginning of the 14th century.
The text is written in Old French, the language of the court and aristocracy in medieval England following the Norman Conquest and this particular fragment belongs to the genre of Arthurian romances which were intended for a noble audience, including women.
The inner cover
The inner cover
The fragment tells two key episodes from the end of the Suite Vulgate du Merlin. The first part recounts the victory of the Christians against the Saxons at the Battle of Cambénic. It tells of the fight of Gauvain (with his sword Excalibur, his horse Gringalet and his supernatural powers), his brothers, and his father King Loth, against the Saxon Kings Dodalis, Moydas, Oriancés, and Brandalus.
The outer left cover and extension
The outer left cover and extension
The second passage presents a more courtly scene, set on the Feast of the Assumption of the Virgin Mary, with Merlin appearing at Arthur’s court disguised as a harpist—a moment that highlights his magical abilities and his importance as an advisor to the king.
Dr Irène Fabry-Tehranchi holding the rare manuscript before inserting it into the Micro CT scanner in the Department of Zoology.
Dr Irène Fabry-Tehranchi holding the rare manuscript before inserting it into the Micro CT scanner in the Department of Zoology.
The medieval fragment was discovered in 2019 in this box of court rolls during the re-cataloguing of the manorial and estate records relating to the Vannecks of Heveningham (Suffolk).
The medieval fragment was discovered in 2019 in this box of court rolls during the re-cataloguing of the manorial and estate records relating to the Vannecks of Heveningham (Suffolk).
“While they were rejoicing in the feast, and Kay the seneschal brought the first dish to King Arthur and Queen Guinevere, there arrived the most handsome man ever seen in Christian lands. He was wearing a silk tunic girded by a silk harness woven with gold and precious stones which glittered with such brightness that it illuminated the whole room."
A translation from the Suite Vulgate du Merlin manuscript found at Cambridge University Library
Innovative
digitisation
techniques
Sally Kilby (Conservation Department) and Błażej Mikuła (CHIL) carefully photograph inside the folds of the manuscript.
Sally Kilby (Conservation Department) and Błażej Mikuła (CHIL) carefully photograph inside the folds of the manuscript.
This image, made with Multispectral Imaging and processed using the Minimal Noise Fraction method, brings out annotations on the left-hand side which were invisible to the naked eye, including the stamp ‘Huntingfield’ believed to have been added in the 16th century when the manuscript was repurposed as a binding.
This image, made with Multispectral Imaging and processed using the Minimal Noise Fraction method, brings out annotations on the left-hand side which were invisible to the naked eye, including the stamp ‘Huntingfield’ believed to have been added in the 16th century when the manuscript was repurposed as a binding.
This image, taken with a Multispectral Imaging camera and processed using the Minimal Noise Fraction method, brought out the band of faded and erased text across the cover, making it readable again. One theory by researchers is that at some point over the centuries, there was a band (possibly made of an oily material such as leather) around the book holding it in place which rubbed off the text. Through this digitisation process, they were able to bring out the missing text digitally, allowing researchers to read the story clearly and help place the manuscript amongst the Merlin literary canon.
This image, taken with a Multispectral Imaging camera and processed using the Minimal Noise Fraction method, brought out the band of faded and erased text across the cover, making it readable again. One theory by researchers is that at some point over the centuries, there was a band (possibly made of an oily material such as leather) around the book holding it in place which rubbed off the text. Through this digitisation process, they were able to bring out the missing text digitally, allowing researchers to read the story clearly and help place the manuscript amongst the Merlin literary canon.
3D model produced using Artec Space Spider
3D model produced using Artec Space Spider
The discovery set off an extensive conservation and research project, supported by the University Library with funding from Cambridge Digital Humanities.
The fragment’s condition posed a significant challenge. It was fragile, with tears and folds that made it difficult to handle. Traditional methods of conservation might have involved physically removing the binding to unfold the fragment, but this risked causing irreparable damage.
Instead, the team decided to preserve the fragment in situ, keeping it as an example of 16th-century archival binding practices while using cutting-edge technology to virtually unfold and digitise it.
“It’s not just about the text itself, but also about the material artefact. The way it was reused tells us about archival practices in 16th-century England. It’s a piece of history in its own right.”
A multidisciplinary team comprising curators, conservators, and imaging specialists from across the University of Cambridge, including departments such as Archives and Modern Manuscripts, Conservation & Heritage, and Collections and Academic Liaison, all worked together with CHIL to analyse and digitise the fragment.
The methods undertaken by Amélie Deblauwe, Błażej Mikuła and Maciej Pawlikowski from CHIL, with the support of Jennifer Murray from the Library’s Conservation Department, allowed them to unfold the fragment virtually and access hidden parts of the text.
To achieve this, the team undertook:
Multispectral Imaging (MSI)
This technique used in CHIL involved capturing the fragment in various wavelengths of light, from ultraviolet to infrared.
The high-resolution images produced by MSI allowed the team to enhance the readability of the text. Images processed using geospatial software revealed details that were invisible to the naked eye.
The fragment had been heavily rubbed and worn from its use as a cover, but MSI helped to bring out the text and highlighted annotations in the margins.
Computed Tomography (CT) scanning
Conducted with equipment and expertise from the University’s Zoology department, the team used a powerful X-ray scanner—typically used for scanning fossils or skeletons—to virtually penetrate the layers of parchment and uncover hidden structures in the binding.
It provided a 3D model of the fragment and its binding and allows researchers to examine the structure of the binding without physically dismantling it. The scan revealed how the fragment had been stitched into the cover, providing insights into 16th-century archival binding techniques.
A micro CT scan of the binding structure utilises advanced segmenting structures to separate different materials within the manuscript, such as threads used in the binding. By digitally removing the book and leaving just the thread, the model provides a clearer view, enabling precise viewing and facilitating more accurate research. Use your mouse to rotate, zoom, and examine the binding in detail.
A CT scanner relies on the difference in density of the material. In this case both materials were the same density. The pages were stitched using thin strips of the same or similar parchment. The team spotted enough gap between the pages and the stitching to record that separation.
3D modelling
Industrial scanning techniques created highly detailed virtual models of the fragment, allowing researchers to study its creases, stitching, and folds in remarkable detail.
A 3D model of the manuscript. Use your mouse to rotate, zoom, and examine the text in detail.
Virtual unfolding
The fragment’s text was not in a straightforward sequence; parts of it were hidden under folds or stitched into the binding.
Using mirrors, prisms, magnets, and other tools, the team at CHIL carefully photographed each section of the fragment. The hundreds of resulting images were then painstakingly reassembled digitally, much like a jigsaw, to create a coherent image of the text.
By manipulating the digital images, the team could simulate what the document might look like if it were physically opened.
Scroll down to watch the unfolding.
Maciej M Pawlikowsk, Head of The Cultural Heritage Imaging Laboratory (CHIL) at Cambridge University Library said:
“This project was a fabulous opportunity to employ all possible advanced imaging techniques from our photographic arsenal. And each of them brought something very important to light. This resulted in the creation of a set of unique digital objects which placed the original fragment in a whole new context and has transformed our understanding of it.”
Dr. Fabry-Tehranchi described the process as “like solving a puzzle.” "If this had been done 30 years ago, the fragment might have been cut, unfolded, and flattened. But today, preserving it in situ gives us a crucial insight into 16th-century archival practices, as well as access to the medieval story itself."
A model for the future
Beyond revealing the fragment’s story of Merlin, this project has established a new benchmark for the conservation and digitisation of medieval fragments.
"This project was not just about unlocking one text—it was about developing a methodology that can be used for other manuscripts. Libraries and archives around the world face similar challenges with fragile fragments embedded in bindings, and our approach provides a model for non-invasive access and study."
The discovery has already sparked interest among researchers and conservators, including those at the UK’s National Archives, who are keen to explore how these techniques might be applied to their own collections.
Amélie Deblauwe, Chief Photographic Technician, CHIL, using a probe macro lens. A digitsation technique she used on the Merlin manuscript.
Amélie Deblauwe, Chief Photographic Technician, CHIL, using a probe macro lens. A digitsation technique she used on the Merlin manuscript.
The team hopes the project will inspire further research into medieval manuscripts hidden in unexpected places.
The story of King Arthur and Merlin has been told and retold for centuries, but thanks to modern technology, we are still uncovering new chapters.
The digital results of the project are now available for everyone to explore online via the
Cambridge Digital Library.
This means that for the first time, scholars and public alike can explore the fragment in unprecedented detail. The digital edition includes high-resolution images, multispectral scans, and 3D models, allowing viewers to rotate, zoom, and examine the text as if handling the manuscript itself.
Join Dr Irene Fabry-Tehranchi, Amélie Deblauwe and Błażej Mikuła at this year’s Cambridge Festival on Wednesday 26 March. They will be showing and explaining to audiences in-person how these advanced digitisation techniques allowed the virtual unfolding of Merlin’s fragment for the first time.
Book your spot HERE
The text in this work is licensed under a Creative Commons Attribution 4.0 International License.
25 March 2025
Words and design: Jessica Keating
Manuscript photography: Cambridge University Library / CHIL
All other photography: Cambridge University Library / Błażej Mikuła / Amélie Deblauwe
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