Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Rome1. ff. 1-11v: Calendar, missing the month of January; including the feast of Macarius (9 May), Rumold (1 July), Amalberga (10 July), Monulph (16 July), Arnulph (16 August), Lambert (17 September), Remigius and Bavo (1 October), Amalberga (27 October), Hubert (3 November). 2. ff. 12-19v: Stabat mater dolorosa…[RH 19416]; Devota oratio ad beatam mariam virginem, Obsecro te…[masculine forms; Leroquais, LH 2:346]; Oratio ad beatam virginem mariam, O Intemerata…orbis terrarum. Inclina mater…[Wilmart, 488-90]. 3. ff. 20-35: Suffrages of the Trinity, John the Baptist, All Angels, Michael, Nicholas, Francis, Anthony of Padua, John the Evangelist, Sebastian, Jerome, Anne, Catherine of Alexandria, Agnes, Apollonia, Elizabeth, Barbara, Mary Magdalene, Margaret, Leonard; f. 35v, ruled, but blank. 4. ff. 36-42v: Short hours of the Cross. 5. ff. 43-48v: Short hours of the Holy Spirit. 6. ff. 49-55v: Pericopes of the Gospels, each beginning at the top of a recto. 7. ff. 56-120v: Incipiunt hore beate marie virginis secundum cursum romane ecclesie; with weekly variations of the psalms at matins set into the text before the lessons; suffrages of All Saints and for peace from lauds to compline; f. 112r-v, Salve Regina in a different hand; Advent office begins on f. 113. 8. ff. 121-136: Penitential psalms and litany; f. 136v, ruled, but blank except for a prayer added, s. XVI, in a cursive script: Marie mere de concorde, fontaine de misericorde… 9. ff. 137-177v: Office of the Dead, use of Rome. Parchment, ff. 177 + iii (early modern paper); 168 × 115 (90 × 60) mm. The collation registers the location of what were presumably added singletons, now missing: 16(-1) 28(-7, 8) 3-58 68(-2 added singletons, before the first and eighth leaf, ff. 36 and 43) 78 84(to f. 55) 98(-an added singleton, before the first leaf, f. 56) 108 118(-an added singleton, before the second leaf, f. 73) 128(-an added singleton, before the fifth leaf, f. 84) 138(-2 added singletons, before the second and sixth leaf, ff. 89 and 93) 148(-2 added singletons, before the second and sixth leaf, ff. 97 and 101) 158(-an added singleton, before the fifth leaf, f. 108) 162(-1, to f. 112) 178 188(-an added singleton, before the first leaf, f. 121) 198 208(-an added singleton, before the first leaf, f. 137) 21-238 248(+1 added singleton at the end, f. 177). A cropped quire-leaf signature on f. 66, apparently “h3.” 16 long lines, ruled in pale red ink, with some pricking visible in the upper and lower margins. Written in a formal bâtarde script. Twelve full page miniatures, which were all on inserted singletons and presumably blank on the recto, have been cut from the manuscript. The remaining illuminations are those of prayers, suffrages and Gospel pericopes, usually 6-line, in grisaille technique of shaded whites, highlighted in gold, often set against gold-patterned maroon drapes. A number of the miniatures, although simpler in execution, have followed the same model as certain miniatures attributed to the Master of Mary of Burgundy; the references to plates in the following description indicate those in G. I. Lieftinck, Boekverluchters uit de Omgeving van Maria van Bourgondie, c. 1475-1485 (Brussels 1969). Full borders on the leaves with extant miniatures and on the leaves facing the removed miniatures, with ground of gold paint dabbed over a colored surface or of a color (pink, blue-grey, red, yellow-green), and decorated with realistic flowers, insects, and branchy acanthus leaves (Lieftinck, pl. 39). Depth added to the borders by raised gold dots and ovals, some of which have flaked off down to the base coat; there is no indication here of a previous ivy spray border, in which gold dots were painted over, as noted by J. J. G. Alexander regarding Oxford, Bod. Lib., Douce 219-220 in his introduction to The Master of Mary of Burgundy (New York 1970) p. 14. The miniatures are: f. 12 (Stabat mater), Pietà; f. 13v (Obsecro te), the Virgin, standing, holding the Child, 4-line; f. 17v (O Intemerata), the Virgin sitting holding the Child, 4-line; f. 20 (Trinity), the Trinity as three glowing gold circles emanating gold rays through a white field which shades into rose; f. 21, John the Baptist holding the Lamb and pointing to his neck; f. 22 (All Angels), Christ’s face in gold highlights surrounded by worshipping angels, also picked out in gold against a deep rose ground; f. 23, Michael with upraised sword vanquishing 2 devils at his feet (Lieftinck, pl. 137); f. 23v, Nicholas seated before the 3 children in a tub (Lieftinck, pl. 196); f. 24, Francis showing the stigmata; f. 25, Anthony of Padua standing before a maroon drape holding a crucifix and a book; f. 25v, John the Evangelist holding a chalice; f. 26, Sebastian; f. 27, Jerome holding a rock with which he has been beating his chest, and gazing at a crucifix, against a background of green foliage; f. 28, Anne standing beside the Virgin, herself a child who holds the infant Jesus (Lieftinck, pl. 34); f. 29, Catherine standing before a maroon drape patterned with gold wheels, and holding a sword and a book; f. 29v, Agnes holding a lamb on a book; f. 30v, Apollonia holding the pincers with a tooth (Lieftinck, pl. 260); f. 31, Elizabeth, crowned, and holding a crown and a coin before a maroon ground; f. 32, Barbara holding a palm frond and touching the tower with her left hand; f. 33, Mary Magdalene holding the pot; f. 34, Margaret with the head only of the dragon visible, stretching up towards her hand and the cross in it; f. 34v, Leonard holding fetters and a book; f. 49, John on Patmos (Lieftinck, pl. 246); f. 51, Luke with the ox (Lieftinck, pls. 117 and 249); f. 53, Matthew with the angel (Lieftinck, pls. 123 and 247); f. 55, Mark with the lion (Lieftinck, pl. 122). Set into the space of the illuminations are 1-line initials, shaped from a white acanthus leaf, against a squared gold-sprinkled light brown ground (Lieftinck, pl. 123). Facing the presumably excised full page illuminations are 6- or 5-line initials, as white or brown branches and leaves, highlighted in gold against a square brick-red or brownish-green ground, lightly stippled in gold, infilled on f. 56 with a bird pecking at a daisy, or with a flower alone (Lieftinck, pl. 149). Minor initials, 2- or 1-line, of white branches against square brown grounds, stippled in gold, with the same colors used for the ribbon line fillers in the litany. Rubrics in red. Bound, s. XVIIex, in French parchment over pasteboard. Written in Flanders, probably Ghent and probably decorated by followers of the Master of Mary of Burgundy, ca. 1480. N. 632 in a sale (not Brayton Ives, 1891, according to De Ricci). Belonged to Robert Hoe: Grolier Club (1892) n. 49 with a plate of f. 23; Cat. (1909) pp. 92-93; his sale, Anderson, New York, 1912, pt. IV, n. 2342 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 98.
Flanders, s. XVex
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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