Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Paris1. ff. 1-12v: Full calendar in French of the type printed by Perdrizet; major feasts in gold, the others alternating red and blue. 2. ff. 13-26v: Pericopes of the Gospels, that of John followed by the prayer, Protector in te sperancium…[Perdrizet, 25]; the sequence from Mark precedes that from Matthew; Oroison de nostre dame, Obsecro te…[1 leaf missing after f. 21 with loss of text:…clamantem audisti et morien//…//danciam omnium bonorum; Leroquais, LH 2:346]; Autre oroison de nostre dame, O Intemerata…orbis terrarum. De te enim…michi miserrimo peccatori…[Wilmart, 494-95]; f. 27r-v, ruled, but blank. 3. ff. 28-96: Hours of the Virgin, use of Paris; 3 sets of 3 psalms and lessons at matins with rubrics for the nocturns; each hour from lauds to compline ends with the prayer, Ecclesiam tuam quesumus domine benignus…; ff. 96v-97v, ruled, but blank. 4. ff. 98-118v: Penitential psalms and litany including Maurice, Denis and Quentin among the martyrs; Ivo, Germanus, Sulpice and Remigius among the confessors; Syria, Valeria, Radegundis, Opportuna, Genevieve, Ursina (?) and Avia among the virgins. 5. ff. 119-126v: Short hours of the Cross. 6. ff. 127-133v: Short hours of the Holy Spirit. 7. ff. 134-181v: Office of the Dead, use of Paris. 8. ff. 182-191: Prayers as follow: Cy commencent les quinze ioies de nostre dame, Doulce dame de misericorde…[Leroquais, LH 2:310-11]; Cy s’ensuivent les cinq plaies, Doulz dieux pere sainte trinite et un dieu…[Leroquais, LH 2:309-10]; Saincte vray croix aouree…[Sonet 1876]; f. 191v, ruled, but blank. 9. ff. 192-211v: Suffrages of the Trinity, All Saints, the Assumption of the Virgin, the Cross, Michael, John the Baptist, Peter and Paul, Andrew, John the Evangelist, James the Greater, Thomas the Apostle, Bartholomew, Matthew the Evangelist, Simon and Jude, Matthias, Luke, Mark, Stephen, Lawrence, Vincent, Denis, Christopher, George, Martin, Nicholas, Maurus, Anthony abbot, Fiacre, Catherine of Alexandria, Margaret, Genevieve, Mary Magdalene, Anne; ff. 212-214v, blank. Parchment, ff. ii (parchment, with blue silk and gold tooled morocco glued to the recto of the first) + 214 + ii (parchment, with blue silk and gold tooled morocco glued to the verso of the second); 235 × 170 (107 × 65) mm. 112 28 38(-2, after f. 21) 4-118 126(through f. 97) 13-238 246(through f. 191) 25-268 278(-8). Catchwords in a small careful gothic script in the center of the lower margin. 15 long lines, ruled in a rather vivid pink; pricking occasionally present in the upper and lower margins. Written in 2 sizes of gothic script, according to liturgical function. Nineteen large miniatures usually in arched compartments above 4 lines of text; most borders consist of a decorated wide gold band in a U-shape around both text and miniature, with an outer border of ivy vine and regularly arranged, brightly colored acanthus leaves and flowers. The miniatures, by several artists of the workshop of the Master of the Duke of Bedford, are: f. 13 (Gospel of John), in a square compartment above 5 lines of text, John on Patmos with his eagle holding one end of the scroll, and the devil stealing his inkwell; the acanthus leaves of the outer border in lush, dense foliage form the U-shape frame, and are surrounded by an ivy design of thin, swirling pink or blue branches; f. 15 (Luke), in the same configuration and border as f. 13, the evangelist is shown painting a picture of the Virgin; f. 17 (Mark), configuration and border as on f. 13, Mark sits at his desk writing, with the lion on the floor in front of him; f. 18v (Matthew), configuration and border as on f. 13, Matthew writes while the angel kneels before him; f. 28 (Hours of the Virgin), Annunciation, seen through 3 pale pink arches enclosing respectively the angel, the lilies (within another “frame” of gold curtains), and Mary; the U-shape border consists solely of lush, dense acanthus leaves of bright orange, olive green, rose, red, golden brown and blue, which form spaces for 6 medallions of angels playing musical instruments against burnished gold grounds; the normal ivy leaf decoration has mainly been crowded out, and is reduced to a few gold motifs; f. 52 (Lauds), Visitation, including a young girl accompanying Mary; in the background against a high horizon are 3 islands or peninsulas, and a galleon floating on the river; border as on f. 28; f. 63v (Prime), Nativity, with the Baby lying in the manger on a corner of the Virgin’s cloak; behind Mary is an orange and white bed; in the medallions of a border as on f. 28 are angels, men, dogs and sheep, all growing from flowers (reproduced in Meiss, fig. 53); f. 69v (Terce), Annunciation to the shepherds and a shepherdess with a distaff; f. 74v (Sext), Adoration of the Magi; f. 79 (None), Presentation in the temple seen through pale pink architecture; f. 83v (Vespers), Flight into Egypt, with an angel accompanying the Holy Family and a broad river in the background; f. 91 (Compline), Coronation of the Virgin by an angel flying above her together with other angels, as she kneels in prayer before God the Father; f. 98 (Penitential psalms), David on a parapet of his castle above a river praying to God who appears in a circle of gold rays among monochrome blue angels; the background is reminiscent of that in Jan van Eyck’s portrait of Chancellor Rolin before the Madonna, reproduced, for example, by M. Meiss, French Painting in the Time of Jean de Berry: The Boucicaut Master (New York 1968) fig. 493; f. 119 (Hours of the Cross), with Mary, John and Mary Magdalene on Christ’s right along with the 2 Longinus’: the soldier who pierces Christ’s side and the Longinus who cures his blindness by placing a drop of Christ’s blood in his eye; on Christ’s left are the soldiers and the converted centurion who holds a scroll bearing the legend “Vere filius dei erat iste”; the border has the same thin swirling pink and blue branches as the borders of the Evangelist portraits; f. 127 (Hours of the Holy Spirit), Pentecost, with Mary centered between 2 columns and exactly below the dome and the Dove; diapered background; f. 134 (Office of the Dead), Burial scene in a churchyard, with 2 men lowering the shrouded corpse into the grave while the small naked soul, aided by the archangel Michael, escapes from the claws of a black devil and is pulled up through an aperture in the sky into heaven where God the Father awaits him; f. 182 (Doulce dame de misericorde), the Virgin standing, holding the Child who has his right arm around her neck and clutches a string of coral beads with the other; 2 angels support a cloth of honor behind them; the pose is directly related to Jan van Eyck’s Madonna at the Fountain (dated 1439) in the Musée Royale in Antwerp; in the manuscript, however, there is a canopy above the Virgin, and the fountain has been omitted; see, for example, E. Panofsky, Early Netherlandish Painting (Harvard University Press 1953) fig. 255; f. 188 (the 5 Wounds), Man of Sorrows with Mary and John sitting respectively in front and in back of the tomb, while two angels stand behind holding the instruments of the Passion, and a host of orange angels frames the arch; this same scene in Keble College MS 39, f. 164, reproduced in Parkes, Keble College, fig. 91; f. 192 (suffrage to the Trinity), God the Father in a brocade and jewelled robe supports the dying Christ, while the Dove perches on Christ’s shoulder, with angels at the 4 corners holding the instruments of the Passion; a ruffled gold-starred blue cloud frames the miniature. Small miniatures in the margins, unframed and based on green grass, approximately 40 × 20 mm.: f. 193 (All Saints), placed tightly against the bar frame of the text, a group of male saints among which are identifiable Stephen, James the Greater, Andrew and Lawrence; f. 193v (Assumption of Mary), the Virgin wearing a gold dress, and being supported by 2 angels within a blue cloud; f. 194 (Cross), 2 angels supporting the cross with the INRI legend at the top; f. 195, Michael in full armour, vanquishing the devil; f. 195v, John the Baptist pointing to the nimbed Lamb he holds in his arms; f. 196, Peter with the keys and Paul holding an open book and leaning on the sword; f. 196v, Andrew with open book and his cross; f. 197, John the Evangelist blessing the snake-filled chalice he holds in his left hand together with a palm leaf; f. 197v, James the Greater with staff and open book; f. 198, Thomas the Apostle with lance and open book; f. 198v, Bartholomew with flaying knife and open book; f. 199, Matthew with open book; f. 199v, Jude with the bludgeon and Simon holding an open book; f. 200v, Matthias holding a quill and an open book, evidently through confusion with Matthew the Evangelist; f. 201, Luke with quill and open book; f. 201v, Mark with quill and open book; f. 202v, Stephen with a rock on his head; f. 203, Lawrence with his grate; f. 203v, Vincent dressed in a dalmatic; f. 204, Denis holding his head; f. 205, Christopher, the Christ Child on his shoulders; f. 205v, George on his horse, killing the dragon; f. 206, Martin cutting his cloak; f. 206v, Nicholas blessing the three children, one of whom is stepping out of the barrel; f. 207, Maurus in Benedictine robes with an abbot’s crozier; f. 207v, Anthony abbot with the pig and flames; f. 208, Fiacre holding a shovel; f. 208v, Catherine of Alexandria with broken wheel and sword; f. 209, Margaret emerging from the dragon’s back; f. 209v, Genevieve with the angel lighting her candle as the devil, using bellows, tries to blow it out; f. 210, Mary Magdalene holding the jar of ointment; f. 211, Anne standing next to the child Mary with one arm protectively around her shoulder, and holding an open book with the other hand. 4-line initials for the first 3 Gospel extracts, and 3-, 2-, and 1-line initials in white-patterned blue on burnished gold grounds with trilobe leaf infilling; the 3-line initials on ff. 52, 98, 119 and 182 against rose-colored grounds; ribbon line fillers in the same colors and in many designs; initials within the text touched in yellow. Blue rubrics for the Gospel sequences and the 2 prayers to the Virgin, thereafter in red. Full borders on every page, consisting of a gold and color U-shaped frame around the text, often terminating in an orange and blue grotesque; outer border of black ivy vine and gold motifs. Similar borders in the calendar, which also include in the lower margin of the recto a miniature of the monthly occupation, and in the middle of the outer margin of the recto a roundel with the zodiac sign. Erased inscription on f. 211v below the text. Bound, s. XIX, by Charles Smith in worn red velvet with 2 silver-gilt fore edge clasps and four corner-pieces; light blue watered silk doublures and endpapers, dentelle elaborately tooled; gilt edges. This binding, apparently defective, was taken apart in 1945 (?); the book now kept in loose quires in a case. Written in the middle of the fifteenth century in France, probably Paris, and decorated in the style of the Master of the Duke of Bedford. Given by John Webb to Augustus Frederick, Duke of Sussex (1773-1843); in the Bibliotheca Sussexiana, A Descriptive Catalogue…of the Manuscripts and Printed Books contained in the Library of His Royal Highness, the Duke of Sussex, by Thomas J. Pettigrew (London 1827) vol. I, pt. 1, n. 129 with a plate of f. 134; his sale, Evans, London, 31 July 1844, pt. II, n. 187 to James Baker; his sale, London, 24 May 1855, n. 473 to Edwin Henry Lawrence (d. 1891); his sale, Sotheby’s, 9 May 1892, n. 303 to Quaritch. Acquired by Robert Hoe: Bierstadt (1895) 25-27 with a plate of f. 63v; Cat. (1909) pp. 61-62; his sale, Anderson, New York, 1911, pt. I, n. 2130 to G. D. Smith; Smith Cat. [n. 2, 1912?] n. 119 to Henry E. Huntington in April 1912. Bibliography: De Ricci, 92. M. Meiss, The De Lévis Hours and the Bedford Workshop (Yale University Press 1972) fig. 53 of f. 63v.
France, s. XVmed
C. W. Dutschke with the assistance of R. H. Rouse et al., Guide to Medieval and Renaissance Manuscripts in the Huntington Library (San Marino, 1989). Copyright 1989.
Henry E. Huntington Library and Art Gallery, San Marino, California.
Electronic version encoded by Sharon K, Goetz, 2003.
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