Guide To Medieval and Renaissance Manuscripts in the Huntington Library

HM 1151

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BOOK OF HOURS, use of Paris
France, s. XVin
1. ff. 1-11v: Full calendar in French of the type printed by Perdrizet, including Denis (9 October, in gold); the leaf with the month of January missing; major feasts in gold, the others alternate 2 red with 2 blue entries; particularly on the first few leaves the gold is often entirely rubbed away, so that it appears never to have been applied. 2. ff. 12-17v: Pericopes of the Gospels, that of Matthew with the rubric “Secundum lucam.” 3. ff. 18-85: Hours of the Virgin, use of Paris; 9 psalms and lessons at matins in the 3 groups, but without intermediary rubrics; opening leaf of lauds missing between ff. 41-42 with the missing portion of the first psalm for that hour, Ps. 92, 1-3, added in a sixteenth century continental hand in the upper margin of f. 42; the prayer, Ecclesiam tuam quesumus domine benignus…completes all hours, lauds to compline. 4. ff. 85v-102v: Penitential psalms and litany, including Denis and Eustachius among the martyrs; Eligius and Aegidius among the confessors and Genevieve among the virgins; breaks defectively in the prayer, Fidelium deus omnium conditor… 5. ff. 103r-v, 110-111v, 104-106v: Short hours of the Cross, beginning defectively and misbound as indicated. 6. ff. 107-109v, 112-113v: Short hours of the Holy Spirit. 7. ff. 114-160: Office of the Dead, use of Paris. 8. ff. 160v-183v: Prayers as follow: Les xv ioies nostre dame, Doulce dame de misericorde…[Leroquais, LH 2:310-11]; Quicunques veult estre bien conseillie de la chose dont il a grant mestier si die par chascun iour les oroisons qui sont cy apres escriptes…, Doulz dieu doulz pere sainte trinite un dieu…[Leroquais, LH 2:309-10]; Sainte vraie croix aouree…[Sonet 1876]; Oracio beate marie virginis, Obsecro te…[masculine forms; Leroquais, LH 2:346]; O Intemerata…orbis terrarum, de te enim…[Wilmart, 494-95]; suffrages of the Trinity, John the Baptist, Michael, Peter and Paul, Matthew, Simon and Jude, Andrew, Stephen, Lawrence, Denis, and the Innocents (breaking defectively before the prayer). Parchment, ff. i (paper) + 183 + i (paper); 168 × 121 (98 × 65) mm. 16(-1) 2-36 4-68 78 (-1, before f. 42) 8-138 148(-7, before f. 103) 156(ff. 104-109) 164(ff. 110-113); these 2 quires originally formed a single gathering with the 2 bifolia of quire 16 as the outer leaves) 17-248 25 (6 leaves of uncertain structure). Catchwords in the script of the text in the center lower margin. 14 long lines, ruled in pale red ink. Written in a gothic book hand. Twelve miniatures within square compartments above 4 lines of text; both text and miniature enclosed by U-shaped frames which derive from the initial; the miniatures, set against diapered backgrounds and with green grass as the base, are: f. 18 (Hours of the Virgin), Annunciation, with God the Father appearing in an aperture at the top of the miniature; the outer border contains regular swirls of narrow pink or blue vines with trilobe leaves in these colors and in gold, although both the gold and the miniature itself are badly rubbed; opening leaf for lauds missing; f. 52v (Prime), Nativity with the Virgin lying on an orange-draped bed and reaching to the Infant in a manger, while Joseph, propped against the foot of the bed, dozes; outer border of black ink vines with spiky gold trilobe leaves; f. 59 (Terce), Annunciation to the shepherds; outer border as on f. 52v; f. 64 (Sext), Adoration of the Magi; in the outer border both the pink and blue swirled branches and the black vine spray; f. 68v (None), Presentation in the temple; border as on f. 64; f. 73 (Vespers), Flight into Egypt; outer border formed of black ivy spray completed in the lower margin with spiky gold trilobe leaves, and on the outer and upper margins with orange, blue and gold rayed tear-drop leaves and an occasional star-flower; f. 80 (Compline), Coronation of the Virgin, who sits with hands folded in prayer beside God the Father on a pink bench decorated with acanthus leaves; the outer border contains gold and colored rayed tear-drop leaves and a few fleshy acanthus leaves in orange and blue; f. 85v (Penitential psalms), David, kneeling in a fantastic landscape of twisted green hills and two trees, looks up at God the Father who appears in a dark blue aperture in the diapered background; outer border as on f. 64; opening leaf of the Hours of the Cross missing; f. 107 (Hours of the Holy Spirit), Pentecost, with a dense outer border of bright orange, blue and gold rayed tear-drop leaves and star-flowers and 3 grotesques (plus a fourth in the initial); f. 114 (Office of the Dead), 3 singing monks and a group of mourners clustered about a blue-draped coffin; the outer border of a rather sparse black vine with spiky trilobe leaves in oxidized silver, and, in the lower margin, a few colored or gold tear-drop leaves and star-flowers, larger than those on f. 107; f. 160v (Doulce dame de misericorde), the Virgin sitting on the same pink bench as on f. 80, and putting her arms around the Child who stands next to her on the bench; outer border with oxidized silver trilobe leaves and tear-drop leaves, and, especially in the lower margin, blue and pink circle and star-flowers; f. 167 (Doulz dieu doulz pere), Last Judgment, with Christ on a rainbow showing his wounds; the outer border contains small, dense, rayed gold tear-drop leaves and several clusters of fleshy blue, orange and olive green acanthus leaves, with daisy buds, prickly pear fruit and a trumpet flower; along the inner margin are 4 scrolls, the last out of alignment with the others which are now painted over in white, apparently to cover writing underneath (?); a small dragonlike grotesque in pale ink among the flowers of the lower margin, as if unfinished or due to a change in program. 3-line initials in white-decorated blue or pink on gold grounds with colored trilobe leaf infilling, that on f. 107 also containing a grotesque; 3-, 2- and 1-line initials in burnished gold on pink grounds with blue infilling or vice versa. The flourished extensions of the 2-line initials consist of sprays of black-ink stems and squiggles and some colored buds, in 3 styles: i, up to f. 25v; ii, on the versos and conjuncts of illuminated leaves; iii, the most frequent form, with green also being used for the buds. Ribbon line fillers and single flowers for the same purpose in pink, blue and gold. Rubrics in an orange-tinged red, except for those of the calendar which are in a washed-out pink. The illuminated leaves have an irregular series of holes across the top, possibly where protective coverings for the miniatures were sewn. On f. 128, an additional line ruled at the bottom of the recto and at the top of the verso to add a portion of the text omitted by the scribe; it may be a contemporary correction. The margins of ff. 125 and 180 have been almost entirely replaced with parchment; numerous other small repairs occur throughout the volume; the stub which now holds f. 98 in place (the conjunct to the missing leaf before f. 103) bears writing in a sixteenth century French hand. Bound, s. XVIII, in blind tooled calf, red sprinkled edges. Written in the early fifteenth century for use in the area of Paris. The name “Caesar Sacre” in a sixteenth century (?) hand on f. 112v. Obtained by Henry E. Huntington from the book dealer Charles Sessler of Philadelphia. Bibliography: De Ricci, 99.
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)
Leroquais, LH
V. Leroquais, Les Livres d’heures manuscrits de la Bibliothèque Nationale (Paris 1927-43)
P. Perdrizet, Le Calendrier parisien à la fin du moyen âge. Publications de la faculté de lettres de l’Université de Strasbourg 63 (Paris 1933)
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.
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