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 red. 2. ff. 13-27v: Pericopes of the Gospels, that of John followed by the prayer, Protector in te sperantium…[Perdrizet, 25]; Oratio beate marie virginis, Obsecro te…et michi famulo tuo…[Leroquais, LH 2:346]; Alia oratio beate marie virginis, O Intemerata…orbis terrarum. De te enim…[Wilmart, 494-95]. 3. ff. 28-89: Hours of the Virgin, use of Paris; the prayer, Ecclesiam tuam quesumus domine…, concludes the hours from lauds through compline; f. 89v, ruled, but blank. 4. ff. 90-108v: Penitential psalms and litany, including Quentin and Firmin among the martyrs; Amand, Valeric, Nicasius, Leonard and Maurus among the confessors; Genevieve, Austreberta, Juliana and Gertrude among the virgins. 5. ff. 109-112v: Short hours of the Cross. 6. ff. 113-116v: Short hours of the Holy Spirit. 7. ff. 117-170v: Office of the Dead, use of Paris, except for the repetition of the response and versicle of Lesson 5 at Lesson 7 (possibly in error). 8. ff. 170v-188: Prayers as follow: Les quinze ioyes nostre dame, Doulce dame de misericorde…[Leroquais, LH 2:310-11]; les cincq plaies nostre seigneur, Doulx dieu doulx pere sainte trinite…[Leroquais, LH 2:309-10]; Sainte vray croys aouree…[Sonet 1876]; Illumina oculos meos…[RH 27912] with the prayer, Omnipotens sempiterne deus qui ezechie regi…; Ave domine ihesu christe verbum patris…[Wilmart, 412]; Ave verum corpus natum…[Wilmart, 373-76]; Anima christi sanctifica me…[Leroquais, LH 2:340]; Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]; Gaude virgo mater christi que per aurem concepisti…with the prayer, Deus qui beatissimam et gloriosam virginem mariam in conceptu et partu…[both in HE, 63-64]; Stabat mater dolorosa…[RH 19416]; Pietatem tuam clementissime ihesu qui mortem subiciens…; ff. 188v-189v, ruled, but blank. Parchment, ff. i (modern paper) + ii (parchment) + 189 + ii (parchment) + i (modern paper); 165 × 115 (86 × 56) mm. 112 28 36(+ a leaf in the second half) 4-108 116(through f. 89) 12-228 234 248. Catchwords, usually cropped, but sometimes appearing in the inner lower corner of the last verso, usually written in a bâtarde hand, and once in a noting cursive hand (f. 97v). 15 long lines, ruled in pale red ink; pricking visible in the lower margin. Written in a gothic book hand in 2 sizes. Twelve large illuminations in arched compartments with serrated tops, above 4 lines of script; the outer borders contain black ivy sprays with gold foliage, thin blue and gold acanthus leaves placed at the corners, various flowers and strawberries. The miniatures, of simple execution, are: f. 28 (Hours of the Virgin), Annunciation, seen below a gothic pendant tracery arch and between 2 white and gold columns, with the half-figure of God the Father appearing in the window; the miniature and text are bounded by a U-frame made of 3 gold logs; f. 40v (Lauds), Visitation; f. 53 (Prime), Nativity, with the Infant lying on a white cloth and Joseph holding the candle; f. 60 (Terce), Annunciation to the shepherds; f. 65 (Sext), Adoration of the Magi, with the Child reaching into the oldest king’s coffer; f. 70 (None), Presentation in the temple, seen through 2 white columns and an arch which duplicate the shape of the miniature; f. 75 (Vespers), Flight into Egypt; f. 83 (Compline), Coronation of the Virgin, kneeling on a pillow of clouds and being crowned by an angel, while God the Father blesses and a host of red angels looks on from behind a low wall; f. 90 (Penitential psalms), David praying in an interior framed by white columns and a pendant tracery arch, with God the Father blessing him from the window; f. 109 (Hours of the Cross), Crucifixion, with Mary and John on Christ’s right and the soldiers on his left; f. 113 (Hours of the Holy Spirit), Pentecost, viewed through the white columns and arch; f. 117 (Office of the Dead), burial scene in a churchyard with one gravedigger lowering the corpse into the grave, while 2 priests conduct the service and several mourners look on. Initials in 4 styles: 4- and 3-line initials (ff. 40v and 65) in gold- or white-brushed blue set on dark pink grounds, decorated with lighter pink acanthus leaves picked out in gold; 4- and 3-line initials in white-patterned blue on burnished gold grounds with colored trilobe leaves in the infilling; 3-line initials in white-patterned blue against gold-patterned brick red grounds with naturalistic flowers set on the painted gold infillings; 2- and 1-line initials in burnished gold alternate dark pink grounds with blue infilling, or the reverse; ribbon line fillers in the same colors; initials within the text touched in yellow. Rubrics in a bright orange-red. Bracket borders in the same style of ivy sprays, gold motifs, acanthus and flowers, enclosing the text from the outer margin, occur on f. 13 (Gospel of John), f. 19 (Obsecro te), f. 23 (O Intemerata), f. 170v (the 15 Joys), and f. 177 (the 7 Requests). Band borders running the length of the text in the calendar and at the presence of 2-line initials; when applicable, they are traced from the recto to the verso. Bound by Capé in dark green morocco with red morocco doublures; gilt edges. Written in France in the middle of the fifteenth century. An engraved book plate on f. i verso with the monogram “RN” (?). Belonged to Robert Hoe: Grolier Club (1892) n. 29; Cat. (1909) pp. 70-71; his sale, Anderson, New York, 1912, pt. III, n. 2070 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 94.
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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