(Picture) Royal 15 E. VI, f.439 (Miniature). A chapter of the Garter: the king and knights grouped round an altar, which is surmounted by St. George and the dragon. Image taken from Shrewsbury Talbot Book of Romances. Originally published/produced in France (Rouen), before circa 1445. The manuscript was presented to Margaret of Anjou, wife of King Henry VI, by the Earl of Shrewsbury.

The British Library is embarking on a major research project into its collection of medieval and Renaissance Royal illuminated manuscripts.

The project, which is being funded by a £265,000 grant from the Arts and Humanities Research Council (AHRC) and is a collaboration with The Courtauld Institute of Art, University of London, will culminate in the first ever exhibition of the collection – at the British Library in 2011-2012.

In 1757, King George II presented approximately 1,950 manuscripts from the royal library to the newly founded British Museum. Since that time, the manuscripts have remained together as a distinct collection labelled ROYAL.

Within the collection are the illuminated manuscripts of the medieval and Renaissance library of the Kings and Queens of England, representing the largest surviving collection of medieval and Renaissance painting owned by English monarchs.

Royal 20 B. VI , f.2. King Richard II enthroned, receiving the book from the author Philippe de M Mézières. Image taken from Treatise addressed to King Richard II of England. Originally published/produced in Paris, 1395-1396.

“The Royal collection represents the only intact medieval and Renaissance English royal manuscript collection,” said Dr Scot McKendrick, Head of Western Manuscripts at the British Library.

“(It) is an important resource for English medieval history and art history, containing by far the largest surviving collection of medieval and Renaissance painting owned by English monarchs. It’s importance can hardly be overstated.”

Approximately 400 illuminated manuscripts from the Royal collection with significant medieval or Renaissance decoration have been selected for further study.

Each manuscript will be examined individually, to uncover details including patronage – who commissioned the manuscript and why – as well as information about the artist, scribe, and how it may have been received and used by the King or Queen who once owned it.

The project will represent the first systematic analysis of the use of narrative and decorative imagery in medieval manuscripts in this royal library, resulting in a comprehensive review of the medieval and Renaissance painting in manuscripts owned by English monarchs.