Guide To Medieval and Renaissance Manuscripts in the Huntington Library

HM 1143

View all images for this manuscript

BOOK OF HOURS, use of Rome
France, s. XV2
1. ff. 1-12v: Full calendar in French alternating red and blue with major feasts in gold; included are the feasts of Martin (4 July, in gold), Gatianus (23 October), Martin (11 November, in gold), Brictius (13 November) Gatianus (18 December), Perpetuus (30 December). 2. ff. 13-25v: Pericopes of the Gospels; Passion according to John. 3. ff. 26-34v: Oratio beate marie virgins, Obsecro te…[masculine forms; Leroquais, LH 2:346]; Alia oratio beate marie, O intermerata…orbis terrarum. De te enim…[Wilmart, 494-95]; Sequitur alia oratio beate marie, Sancta maria virgo virginum mater christi regina celorum noli me miserum propter peccata mea despicere…, Virginis eximie dum veneris ante figuram…; Oratio, Ave maria gratia plena…; Oratio beate marie, Stabat mater dolorosa…[RH 19416]; Oratio, Omnipotens sempiterne deus qui gloriose virginis marie corpus… 4. ff. 35-79: Hours of the Virgin, use of Rome; weekly variations of the psalms at matins set into the text before the lessons; prayers to All Saints and for peace from lauds to compline; opening leaf of compline missing between ff. 76-77; f. 79v, ruled, but blank, except for rubric to the Hours of the Cross. 5. ff. 80-83v: Short hours of the Cross. 6. ff. 84-87: Short hours of the Holy Spirit; f. 87v, ruled, but blank. 7. ff. 88-103v: Penitential psalms and litany, including Denis and Maurice among the martyrs; Eligius, Ivo and Claude among the confessors; Radegundis, Genevieve, Gertrude and Avia among the virgins; Sequuntur nomina beate virginis marie magne efficatie, Digna virgo flos nubes regina theototos [sic] theotota Imperatrix… 8. ff. 104-135: Office of the Dead, use of Rome. 9. ff. 135v-144: Suffrages of Michael, John the Baptist, John the Evangelist, Peter and Paul, Christopher, George, Adrian, Sebastian, James the Greater, Bernard, Catherine of Alexandria, Mary Magdalene, Martha, Apollonia, Barbara. 10. ff. 144v-155: Domine ihesu christe pastor bone conserva iustos parce peccatoribus…; Oratio, Benignissime ac misericordissime domine deus meus si feci ut essem inimicus tuus…; Oratio, Domine deus mortem domini nostri ihesu christi obitio inter me et iudicium tuum…; Oratio, Domine ihesu christe deprecor te per illas sanctas lacrimas quas pio amore effudisti…; Oratio, Creator et rector machine mundi tuum enim catholicum servientem velis taliter inmerere…; with versicle, response and prayer, Congregati sunt inimici nostri et se glorificant…, with versicle, response and prayer, Benignissime et misericordissime salvator piissime ihesu per merita tue sacratissime incarnationis…; Oratio, Firmiter credens ihesum nazarenum esse filium dei…; oratio, Domine ihesu christe qui tres magos orientales…[different from the version in HE, 75]; Firmiter et puro corde credo et ore confiteor ad plenum sanctam fidem catholicam…; Oratio, Tu sancte iohannes qui ostendisti mundi tollentem peccata…; Oratio, Sana me domine tu cuius es sanare…; Deus propicius esto michi peccatori…[Römer, i, 374-75]; Oratio, Ne reminiscaris domine delicta nostra…; Oratio, Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]; Oratio, Ave gloriosum et preciosum corpus domini nostri ihesu christi in manibus sacerdotis…; Clemens papa Vtus dedit remissionem…, Sancte et individue trinitatis ihesu christe crucifixe…; Oroison tres devote, Ie te commans N. a dieu le Roy puissant par celle mesmes benediction…[Sonet 837]; Oratio, Beatus es rex abagar qui non me vidisti…; Oratio, Ego rex abagar diligo te ut salus sis…; Oratio, Deus qui tres magos orientales…[different from the version in HE, 75, and from that on f. 148]. 11. ff. 155v-186v: Incipiunt flores psalmorum editi a beato gregorio papa, Miserere mei deus miserere mei et exaudi oracionem meam. Miserere mei domine quoniam infirmus sum sana me domine quoniam conturbata sunt ossa mea. Miserere mei domine quoniam tribulor… 12. ff. 187-194v: Incipit psalterium sancti augustini episcopi, [Prayer:] Domine sancte pater omnipotens eterne deus per meritum unigeniti filii tui infunde michi gratiam spiritus sancti ut in horum psalmorum cotidiana frequentia…, [f. 187v, Text:] Domine deus omnipotens rex eterne glorie, qui eum sanctis [sic] esse beatum qui viam peccatorum spernens…[PL 40:1135-1138]. 13. ff. 195-207v: Incipit psalterium sancti ieronimi, Suscipere et exaudire digneris domine deus pater omnipotens hos versiculos tibi consecratos quos ego indignus peccator decantare cupio…, Verba mea auribus percipe…, Oratio, Suscipere et exaudire digneris deus pater omnipotens hos versiculos quos ego indignus peccator cantavi…[HE, 116-22]; ff. 208-209v, ruled, but blank. Parchment, ff. ii (modern parchment) + ii (contemporary parchment, ruled, but blank) + 209 + ii (modern parchment); 195 × 136 (100 × 67) mm. 1-26 3-48 56(through f. 34) 6-108 116(+4, f. 79) 126(through f. 87) 13-148(through f. 103) 15-278 282. Quires and leaves signed beginning with quire 19, f. 130, with letters of the alphabet (a-i) and arabic numerals in the upper left hand corner of the band border. 18 long lines, ruled in pale red ink. Written in a bâtarde script, in 2 sizes according to liturgical function. Thirty-one large miniatures of varying quality by an artist known as the Master of the Vienna Mamerot1 after his illustrations in Sébastien Mamerot’s Histoire et faits des neuf Preux et des neuf Preuses in Vienna (Öst. Nationalbibl., Cod. 2577-78); see Plummer, Last Flowering, n. 67 citing HM 1143. The miniatures are above 3 lines of text in arched compartments, enclosed by borders of blue and gold acanthus leaves, flowers and strawberries. The miniatures are: f. 13, John on Patmos with a cityscape in the background; f. 14v, Luke writing, with his ox and a painting of the Virgin in front of him; f. 16, Matthew seated frontally at a saw-horse desk; f. 17v, Mark in a room supported by pink twined columns; f. 18v (Passion according to John), Betrayal in a night-time garden scene, with a high fence, Peter sheathing his sword and the soldiers crowding around Jesus and Judas; f. 26 (Obsecro te), by a different artist, Pietà, with only the feet of the 2 thieves visible on the crosses, the rest being beyond the top of the miniature; large single stones scattered prominently in the foreground; f. 32 (Sancta maria virgo virginum), the owner, a man, kneeling before the enthroned Virgin who is nursing the Child, with a cityscape behind; f. 35 (Hours of the Virgin), Annunciation, as if in a gothic church with gold twined columns; the angel’s wings are of peacock feathers; the owner’s arms in the border (see below); f. 49 (Lauds), Visitation, in which Elizabeth appears quite old; f. 57v (Prime), Nativity, with the shepherds kneeling to the right outside the shed, and peering in, in a composition closely dependent upon that of Fouquet in the Hours of Etienne Chevalier in Chantilly, reproduced, for example, in P. Wescher, Jean Fouquet and his Time (trans., New York 1947) pl. 3; f. 61 (Terce), Annunciation to the shepherds, one of whom wears a diagonally striped purple and gold tunic; f. 64v (Sext), Adoration of the Magi, before a red draped city house; a pentimento the first king’s hat (?) is on the ground before the Virgin; f. 67v (None), Presentation in the temple, with Simeon, in plain blue dress, supporting the Child as it turns back to its Mother; f. 71 (Vespers), Flight into Egypt; illumination for compline missing, as indicated by the offset of a full border on f. 76v; f. 80 (Hours of the Cross), Crucifixion with Jesus and the thieves, while below Mary, on her knees, is being supported by John, and the soldiers, some on horseback, crowd about; f. 84 (Hours of the Holy Spirit), Pentecost, with Mary sitting somewhat apart, to the right, in a large gothic room, the vaulting held up by pink twined columns; f. 88 (Penitential psalms), the young David cutting off Goliath’s head, while sheep in the middleground graze or look back at the fighting soldiers; f. 104 (Office of the Dead), the “Trois Vifs et Trois Morts” at a wayside cross; f. 135v, Michael in mid-air above large prominent rocks, stabbing a female devil and looking at another with its tongue out; f. 136v, John the Evangelist and John the Baptist, above 4 lines of text, in one illumination, holding respectively the snake-filled chalice and the Lamb, under a vaulted ceiling supported by a lavender twined column in the center back, and by jewel-studded gold columns at the sides; f. 137v, Peter and Paul, above 4 lines of text; f. 138v, George and Christopher, above 4 lines of text with George, the dragon and the princess in the foreground, and Christopher, the Christ Child and the hermit in the middle and background; f. 139v, Adrian and Sebastian, above 4 lines of text; f. 140v, Bernard and James, above 4 lines of text, each with a book; f. 141v, Catherine of Alexandria, above 4 lines of text, with the angel about to destroy the wheel; f. 142v, Mary Magdalene and Martha, above 4 lines of text, the one with her jar of ointment, and the other holding the container of holy water and the dragon by a leash; the dragon appears to be swallowing someone (conflation with Margaret?); f. 143v, Apollonia and Barbara, above 4 lines of text, in a green-draped room with pink twined columns at either side; f. 144v (Domine ihesu christe pastor), above 4 lines of text, Christ in glory with the symbols of the 4 Evangelists in camaïeu d’or against a blue ground in the 4 corners; f. 155v (flores psalmorum…a gregorio papa), above 4 lines of text, a scholar, presumably Gregory, dressed in a large green over-tunic and blue headdress, standing reading from a book with other books on the shelves behind him; 2 gold columns frame the scene; f. 187 (psalterium sancti augustini), a scholar, presumably Augustine, in a blue tunic with the hood up, a book under his arm and others behind him on shelves, standing in a gold columned room; f. 195 (Psalter of St. Jerome), above 4 lines of text, by the same artist as the Pietà on f. 26, Christ rising from the tomb in a landscape scattered with large rocks. Traced band borders in the outer margin of every page, running the length of the text, composed of blue and gold acanthus leaves, flowers and strawberries. One 5-line initial (f. 29, O intemerata), and the 3- and 2-line initials in white-patterned blue on a burnished gold ground, with colored trilobe leaf infilling; 1-line initials in burnished gold with pink or blue infilling against ground of the other color; in the same colors are ribbon line fillers, dots and 3-leaf flowers (for the same purpose). Rubrics in red. Bound by F. Bedford in brown morocco; gilt edges. Written in France during the second half of the fifteenth century, perhaps for use in the diocese of Tours as suggested by the saints in the calendar. The first owner appears kneeling before the Virgin on f. 32; his arms are in the borders of f. 35: barry of six or and sable. Belonged to William Bragge (1823-84); his sale, Sotheby’s, 7 June 1876, lot 476 to B. F. Stevens. Belonged to Robert Hoe: Grolier Club (1892) n. 19; Bierstadt (1895) p. 24 with a plate of f. 32; Cat. (1909) pp. 56-57; his sale, Anderson, New York, 1912, pt. IV, n. 2338 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 97.
1 We thank Mme Nicole Reynaud for assistance with this identification.

Hoe: Bierstadt (1895)
O. A. Bierstadt, The Library of Robert Hoe: a Contribution to the History of Bibliophilism in America (New York 1895)
Hoe: Cat. (1909)
[C. Shipman], A Catalogue of Manuscripts Forming a Portion of the Library of Robert Hoe (New York 1909)
De Ricci
S. De Ricci, with the assistance of W. H. Wilson, Census of Medieval and Renaissance Manuscripts in the United States and Canada (New York 1935-37; index 1940)
Hoe: Grolier Club (1892)
Catalogue of an Exhibition of Illuminated and Painted Manuscripts together with a few early printed books with illuminations…New York, Grolier Club, April 1892 (New York 1892); De Ricci, p. xv, “At least 66 of the European mss. were from the Hoe collection; others belonged to W. L. Andrews, S. P. Avery, etc.”
C. Wordsworth, ed., Horae Eboracenses. Surtees Society 132 (1920)
Leroquais, LH
V. Leroquais, Les Livres d’heures manuscrits de la Bibliothèque Nationale (Paris 1927-43)
J. P. Migne, ed., Patrologia latina
Plummer, Last Flowering
J. Plummer, with the assistance of G. Clark, The Last Flowering: French Painting in Manuscripts 1420-1530 from American Collections (New York and London 1982)
U. Chevalier, Repertorium hymnologicum (Louvain 1892-1912, Brussels 1920-21)
F. Römer, Die handschriftliche Überlieferung der Werke des heiligen Augustinus, II, Großbritannien und Irland. Österreichische Akademie der Wissenschaften, Phil.-Hist. Klasse, Sitzungsberichte 276, 281 (Vienna 1972)
J. Sonet, Répertoire d’incipit de prières en ancien français. Société de publications romanes et françaises 54 (Geneva 1956)
A. Wilmart, Auteurs spirituels et textes dévots du moyen âge latin (Paris 1932; repr. 1971)

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.
All rights to the cataloguing and images in Digital Scriptorium reside with the contributing institutions.