Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, Sarum use1. ff. 1-6v: Calendar in red and black with a number of Franco-Flemish and English saints; Latin month verses [Walther, Initia 14563]. 2. ff. 7-9v: Short hours of the Holy Spirit; f. 10r-v, ruled but blank. 3. ff. 11-12v: De sancta trinitate, Domine deus omnipotens Pater et filius et spiritus sanctus da michi famulo tuo N. victoriam…, with Pss. 53 and 66 by cue only, and the prayer, Libera me domine ihesu christe fili dei vivi qui in cruce suspensus fuisti…, and Ps. 129 [de la Mare, Lyell Cat., 373, n. 88]. 4. ff. 13-23v: Suffrages of John the Baptist, Thomas of Canterbury, George, Christopher, Catherine of Alexandria, Mary Magdalene, Margaret, Barbara. 5. ff. 24-30: Oracio devota ad christum, O Ihesu christe eterna dulcedo te amancium iubilus excedens omne gaudium…[the 15 O’s of St. Bridget; HE, 76-80]; f. 30v, coat of arms [see below]. 6. ff. 31-68v: Hours of the Virgin, Sarum use; suffrages after lauds of the Holy Spirit, the Trinity, the Cross, Michael, John the Baptist, Peter and Paul, Andrew, Stephen, Lawrence, Thomas of Canterbury, Nicholas, Mary Magdalene, Catherine of Alexandria, Margaret, All Saints, for peace; short hours of the Cross worked in from lauds to compline; Salve Regina after compline, with the versicles Virgo mater ecclesie…, and the prayer, Omnipotens sempiterne deus qui gloriose virginis et matris marie…[HE, 62-63]. 7. ff. 68v-80v: Has videas laudes qui sacra virgine gaudes …Salve regina fulcita, Salve virgo virginum stella matutina…[a farcing of the Salve Regina, attributed to Bonaventure, Opera (Vatican 1668) 6:466-67] and the prayer, Deus qui de beate marie virginis utero…; Oratio de domina nostra, O Intemerata…orbis terrarum. Inclina mater…[masculine forms; Wilmart, 488-90]; oratio de domina nostra, Obsecro te…[masculine forms; Leroquais, LH 2:346]; Ave mundi spes maria…[Walther, Initia 1945]; Adiuvet nos quesumus domine deus beate marie semper virginis intercessio veneranda…; Quicumque hec septem gaudia in honore beate marie virginis …obtinebit a papa clemente qui hec septem gaudia proprio stilo composuit, Virgo templum trinitatis…[Philippus de Grevia; Wilmart, 329, n.]. 8. ff. 81-88v: Ad ymaginem domini ihesu christi, Omnibus consideratis paradisus voluptatis…O maria plasma nati…O Johannes evangelista…[Johannes Lemovicensis, here in 10 sections; Wilmart, 527 and 584] followed by Kyrie eleison, versicles, and the prayer, Omnipotens sempiterne deus qui unigenitum filium tuum dominum nostrum ihesum christum crucem coronam spineam et equinque vulnera subire voluisti…; Incipit oratio venerabilis bede…, Domine ihesu christe Qui septem verba…[Leroquais, LH 2:342] and the prayer, Precor te piissime domine ihesu christe propter illam caritatem…[Wilmart, 378, n.]; Deus qui voluisti pro redempcione mundi a iudeis reprobari…; Ave domine ihesu christe verbum patris filius virginis…[Wilmart, 497]; Cuilibet dicenti hanc orationem …dominus papa Bonefacius concessit …ad supplicationem philippi Regis francie, oratio, Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]. 9. ff. 89-105v: Penitential psalms, gradual psalms (the first 12 by cue only), and a long litany, including “Eswarde,” Oswald, Alan, Quentin, Lambert, “Wallepaxde” among the martyrs; Remigius, Vedast, Bavo, Audoenus, Dunstan, Philibert, Leonard, Botulph, Amand among the confessors; Bridget, Christina, Genevieve, Sexburga, Milburga, Osyth, Radegundis, Anastasia among the virgins (the litany appears to coincide with those of Cambridge, Fitzwilliam Museum MSS 52 and 53). 10. ff. 106-127v: Office of the Dead, Sarum use. 11. ff. 128-140v: Commendation of souls (Pss. 118, divided into sections, and 138) with the prayers, Tibi domine commendamus…, and Misericordiam tuam domine sancte pater… 12. ff. 141-145v: Psalms of the Passion (Pss. 21-30, 6 with cues only for 22-24, 26, 29). 13. ff. 145v-158v: Beatus vero ieronimus in hoc modo psalterium istud disposuit…, oratio, Suscipere digneris domine deus omnipotens…, Incipit psalterium sancti ieronimi, Verba mea percipe…, and the ending prayer, Omnipotens sempiterne deus clemenciam tuam suppliciter deprecor ut me famulum tuum N.…; ff. 159-160v, ruled, but blank. 14. ff. 161-168: Les xv Joyes nostre dame, Douce dame de misericorde, mere de pite Et fontaine de tous biens…[Sonet 458]; pericopes of the Gospels; f. 168v, ruled, but blank. Parchment, ff. i (modern parchment) + iii (contemporary parchment) + 168 + iii (contemporary parchment) + i (modern parchment); 212 × 145 (110 × 74) mm. 16 24 3-48 54(through f. 30) 6-128 132(through f. 88) 14-228(through f. 160) 238. One catchword survives in a cursive script in the lower margin of f. 96v; quires and leaves signed in letters and roman numerals with a cross marking the first folio in the second half of the quire. 19 long lines ruled in pale red ink; pricking visible in the 3 outer margins. Written in a gothic book hand. Twenty-seven large miniatures in the style of the Master of the Gold Scrolls, above 5 lines of text, with miniature and text enclosed by a U-shaped border of pink, blue and gold segments; outer borders of multicolored acanthus leaves, black ink sprays, gold dots and trilobe leaves, and figures. The miniatures are: f. 7 (Hours of the Holy Spirit), Pentecost, against a gold rinceaux background; f. 11 (prayer to the Trinity), Gnadenstuhl with two worshipping angels in the border; f. 13, John the Baptist holding the Lamb on the book, with a half-figure of a king in the border; f. 14v, martyrdom of Thomas of Canterbury, with a man sitting calmly in the border; f. 16, George, with a small white dog in the border; f. 17, Christopher; f. 18v, Catherine, with wheel and sword, standing on the emperor Maxentius, against a background of rinceaux; f. 20, Mary Magdalene, against gold rinceaux, in the margin a green grotesque; f. 21v, Margaret emerging from the dragon as God the Father sends down a dove from a ruffled blue sky, with a man emerging from a flower in the border; f. 22v, Barbara holding her tower, against a rinceaux background, with an angel in the border; f. 24 (prayer to Christ, O Ihesu christe eterna dulcedo), Salvator Mundi, holding an open book which reads “Ego sum via veritas et vita,” with a seated figure in the margin; f. 31 (Hours of the Virgin), Annunciation in a room defined by a low wall, with gold rinceaux above the wall, and God the Father in a ruffled blue cloud, the angel Gabriel holds a scroll, “Ave…tecum,” while an angel plays a harp in a garden in the margin; f. 37v (Lauds), Betrayal of Christ, Peter with his upraised sword; f. 49 (Prime), Jesus with his hands crossed and hidden by his sleeves, before Pilate, whose wife stands behind his throne; f. 53 (Terce), Flagellation; f. 56 (Sext), Road to Calvary with Jesus looking backwards at a man who kicks him; f. 59 (None), Crucifixion, with Mary and John, she holding a book, and John turning away reading his; in the margin an angel holding the pillar; f. 62 (Vespers), Deposition from the Cross, at the moment of pulling out the nails with tongs; f. 64v (Compline), Entombment; f. 69 (farcing of the Salve Regina), Coronation of the Virgin by two small blue angels, as she sits in a garden holding the Child on her lap, against a background of gold rinceaux; f. 81 (Omnibus consideratis), Adam and Eve each holding an apple before the tree at the top of which is Christ crucified; a small devil with a woman’s head holds an apple in the left side of the picture; in the margin a half-figure man rising from a flower; f. 88 (Domine ihesu christe qui hanc sacratissimam carnem), Crucifixion, with Jesus and the two thieves, and the sun and the moon above on either side of the face of God the Father; a man with a cane in the margin; f. 89 (Penitential psalms), Last Judgment, with Christ sitting on the rainbow, Mary and John below, and the dead peering out of their graves; in the margin a devil attacks a woman; f. 106 (Office of the Dead), Funeral in a church with 3 monks singing and 4 other figures in black following the service; a hooded person in the border covers his mouth with his hand; f. 128 (Commendation of souls), 2 angels support 3 souls in a sheet carrying them from their empty graves to God the Father, blessing from above in a blue ruffled sky; in the margin a small man riding a camel; f. 141 (Psalms of the Passion), Man of Sorrows, rising half-length above the tomb and floating on a blue cloud, with the emblems of the Passion around him, while an angel plays a harp in the border; f. 147 (Psalter of St. Jerome), Jerome seated in his study with the lion crouched on the floor; a figure with a scroll in the lower border; this miniature reproduced in H. Friedman, A Bestiary for St. Jerome, A Study of Animal Symbolism in European Religious Art (Smithsonian Institute 1980) fig. 163. Major initials, 4-line, in white-patterned blue or pink with trilobe leaf infilling against a cusped gold ground, or ground of the other color with the infilling only in gold; 2-line initials in gold against parted pink and blue grounds with sprays of a few gold leaves and a flower at either end; 1-line initials in blue with red flourishing or in gold with black; initials within the text washed in yellow. Jigsaw line fillers in red and blue with some gold decoration. Rubrics in red. On f. ii verso, a rectangle of cleaner parchment with holes around it, as though something (a pilgrim’s badge?) had once been attached, 72 × 55 mm. Bound, s. XIX, by Chambolle-Duru, in brown morocco with gilt tooling in a Grolieresque design; morocco doublures; gilt edges; brown morocco slipcase. Written in the middle of the fifteenth century in Flanders or northern France for export to England. A coat of arms, s. XVI (?), has been added on f. 30v; per pale 1 azure a chevron or between three dogs’ heads sable langued and collared gules; 2 quarterly, 1 and 4 azure three fish in a bend proper, 2 and 3 argent three escallops gules; above the arms, a stoat proper; below them, a fish or; the whole encircled by a chapelet of carnations. Belonged to Robert Hoe, Cat. (1909) pp. 34-36; his sale, Anderson, New York, 1912, pt. IV, n. 2352 with plate of f. 69 to G. D. Smith. Precise date and source of acquisition by Henry E. Huntington unknown. Bibliography: F. Winkler, Die Flämische Buchmalerei (Leipzig 1925) 26.1 De Ricci, 94.
northern France, s. XVmed
1 We are indebted to Prof. James Marrow for this information.
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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