Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, Sarum use1. ff. 1-12v: Calendar with major feasts in red; includes David (1 March), Visitation (2 July, in red), Anne (26 July, in red); Thomas of Centerbury and the popes have been erased; Latin month verses [Walther, Initia 14563] and Cisiojanus syllables, here beginning “Cisioianed” of which a version is printed in Grotefend, 24-25. 2. ff. 13-21 [f. 13, blank]: Secuntur quindecim orationes composite secundum passionem domini nostri ihesu christi, O domine ihesu christe eterna dulcedo…[HE, 76-80]; f. 21v, ruled, but blank. 3. ff. 22-40v [f. 22, blank]: De sancta trinitate oratio devota, Domine deus omnipotens pater et filius et spiritus sanctus da michi famulo tuo victoriam…with cues of Pss. 53 and 66, the prayer, Libera me domine ihesu christe fili dei vivi…, and, at the end, the cue for Ps. 129 [de la Mare, Lyell Cat., 373, n. 88]; suffrages of John the Baptist [Gaude iohannes baptista…, RH 26988], George, Christopher, Anne, Mary Magdalene [Gaude pia magdalena…, RH 6895], Catherine of Alexandria [Gaude virgo catherina…, RH 6991], Margaret [Gaude virgo margareta…, RH 7011], Barbara. 4. ff. 41-89v [f. 41, blank]: Incipiunt hore beate marie virginis secundum consuetudinem anglie; after lauds suffrages of the Holy Spirit, the Trinity, the Cross, Michael, John the Baptist [Inter natos mulierum…], Peter and Paul, Andrew, Lawrence, Stephen; ff. 61v-62, erasure of 11 lines, with the remaining initial “T” for the antiphon (“Tu per thome sanguinem…”?) and the “D” for the prayer (“Deus pro cuius ecclesia gloriosus pontifex et martir thomas…”?), presumably for Thomas of Canterbury; Nicholas, Mary Magdalene [Maria ergo unxit pedes…], Catherine of Alexandria [Virgo sancta catherina…, RH 34646], Margaret [Erat autem marguareta (sic)…], All Saints, for peace; hours of the Cross worked in; after compline, Salve Regina and the set of versicles, Virgo mater ecclesie…, and the prayer, Omnipotens sempiterne deus qui gloriose virginis et matris marie corpus et animam…[HE, 62-63]. 5. ff. 89v-103: Quinque gaudia beate marie virginis, Gaude virgo mater christi que per aurem concepisti…, with the prayer, Deus qui beatissimam virginem mariam in conceptu…[HE, 63-64]; Has videas laudes…, Salve virgo virginum…[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…[Bruylants, Oraisons vol. 2, n. 230]; ad virginem mariam oratio, O Intemerata…orbis terrarum. Inclina mater…[Wilmart, 488-90]; Alia oratio, Obsecro te…et michi famulo tuo impetres…[Leroquais, LH 2:346]; Quicunque hec septem gaudia …a domino papa [this word erased] clemente qui hec septem gaudia proprio stilo composuit, Virgo templum trinitatis…[Philippus de Grevia; Wilmart, 329, n.]; f. 103v, ruled, but blank. 6. ff. 104-113: Ad ymaginem christi crucifixi, Omnibus consideratis…[Johannes Lemovicensis; Wilmart, 584, n. to p. 527], with the prayer, Omnipotens sempiterne deus qui unigenitum filium tuum dominum nostrum ihesum christum crucem coronam spineam…, Oratio venerabilis bede presbiteri…, Domine ihesu christe qui septem verba…[Leroquais, LH 2:342]; oratio, Precor te piissime domine ihesu christe propter illam caritatem…[Wilmart, 378, n.]; oratio, Ave domine ihesu christe verbum patris…[Wilmart, 412]; oratio, Ave caro christi cara immolata crucis…[Wilmart, 379, n.]; oratio, Anima christi sanctifica me…[a version in Leroquais, LH 2:340]; Omnibus confessis …papa bonificius [sic] concessit duo milia annorum indulgentiam ad supplicationem philippi regis francie, Oratio, Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]; f. 113v, ruled, but blank. 7. ff. 114-130v [f. 109, blank on recto, with illumination of the Last Judgment on the verso, has been misbound and should be placed here]: Penitential psalms, gradual psalms (cues only of the first 12), and litany, including Denis among the martyrs; Gildard, Medard, Albinus, “Swichine,” “Vrine” [sic for Swithun and Birinus], and Germanus among the confessors; Petronilla, Sotheris, Prisca, Thecla, Edith and Afra as the last virgins. 8. ff. 131-155 [f. 131, blank]: Office of the Dead, Sarum use; f. 155v, ruled but blank. 9. ff. 156-170 [f. 156, blank]: Commendation of souls (Pss. 118, divided into sections, and 138 with the prayers, Tibi domine commendamus…, and Misericordiam tuam domine…); f. 170v, ruled, but blank. 10. ff. 171-177 [f. 171, blank]: Psalms of the Passion (Pss. 21-30, 6, with cues only for 22-24, 26, 29). 11. ff. 177-192v: Psalter of St. Jerome: Beatus ieronimus in hoc modo…, Suscipere digneris…; f. 178v, ruled, but blank; f. 179, blank; Verba mea auribus percipe…[HE, 116-22]; Omnipotens sempiterne deus clementiam tuam suppliciter deprecor…; f. 193r-v, ruled, but blank, except for prayers added, s. XVII: Ave maria gratia plena…; lorde have mercy amen; Deus qui manus tuas et pedes tuos…; O mercifull lorde god hevenly father I render most high Laudes; O lord god have. Parchment, ff. ii (modern paper) + ii (modern parchment) + 193 + ii (modern parchment) + ii (modern paper); 192 × 135 (102 × 64) mm. Bound too tightly to collate; all the full page miniatures appear to be on separate leaves. 18 long lines, ruled in purple ink on ff. 1-100v, 114-181v, and in pale red ink on ff. 101-113v, 182-193v; pricking usually visible in the lower margin. Written in a gothic book hand; ink varies from black to brown in color. Twenty-three full page miniatures, on the versos of what are apparently inserted singletons, blank on the recto; the frame around the miniatures is composed of narrow gold and pink strips; the outer border, matched by that on the facing text page, is enclosed by a narrow gold strip and consists of flowers, berries, gold motifs, and thin multicolored acanthus, ribbed with white dots, and whose stems often cross to form patterns. The miniatures are: f. 13v (the 15 O’s of St. Bridget), Salvator Mundi with two angels supporting a cloth of honor; the background is of large flat acanthus leaves, monochrome, picked out in gold against a ground of the same color, but in a darker shade; f. 22v (Domine…da michi famulo tuo victoriam), Gnadenstuhl, with the Father holding the body of Christ across his knees, and the Dove, barely visible, flying from the Father to the Son; acanthus leaf background as above; f. 25v, John the Baptist pointing to the Agnus Dei who sits on a book; f. 27v, George; f. 29v, Christopher; f. 31v, Anne standing and holding a child-like Mary in her arms, who, in turn, holds a tiny baby Jesus; diapered background; f. 33v, Mary Magdalene; f. 35v, Catherine of Alexandria standing on Maxentius; f. 37v, Margaret emerging from the dragon’s back, while God looks on from a cloud aperture above; the prison is indicated by two grey columns adjacent to the sides of the picture, a grey crenellated roof and a grey wall with a locked door across the lower quarter of the picture; f. 39v, Barbara, her hand resting on a tower of her own size; diapered background; f. 41v (Hours of the Virgin), Agony in the Garden; f. 50v (Lauds), Betrayal, with Peter on his knees, sword upraised; f. 66v (Prime), Christ before Pilate, long sleeves covering his hands; diapered background; f. 71v (Terce), Scourging at the pillar, with people watching from a window and a doorway; f. 75v (Sext), Road to Calvary; f. 78v (None), Crucifixion, against a monochrome acanthus background, as on f. 13v; f. 81v (Vespers), Deposition from the Cross, against a monochrome acanthus background, as above; f. 84v (Compline), Entombment, with 3 tau-crosses in the background; f. 109v (misbound here; should precede the Penitential psalms, f. 114), Last Judgment with Christ on a rainbow, his feet resting on a globe, 2 angels blowing horns above, Mary and John below him at either side, and the dead rising from their graves; background of monochrome acanthus leaves, as on f. 13v; f. 131v (Office of the Dead), Raising of Lazarus; f. 156v (Commendation of souls), 2 small naked souls carried in a sheet by 2 angels to God the Father, who appears in glory in a blue cloud aperture above; monochrome acanthus background, as on f. 13v; f. 171v (Psalms of the Passion), Man of Sorrows, in the tomb, rising from a ruffle of blue clouds, the emblems of the Passion surrounding him; f. 179v (Psalter of St. Jerome), Jerome in his study, removing the thorn from the lion’s paw; behind him are shelves with books and 2 green vases. Historiated initials, 7- or 6-line, with spray of flowers, gold motifs and blue dots in the margin: f. 58 (Holy Spirit), Pentecost; f. 59, Michael; f. 60, Peter and Paul; f. 60v, Andrew; f. 61, Lawrence; also on f. 61, 3-line, Stephen; f. 62, Nicholas; f. 63v, All Saints; f. 90v (Salve virgo virginum), the Virgin, holding the Child, standing on a crescent; f. 95 (O Intemerata), Pietà; f. 100 (Virgo templum trinitatis), 5-line, the Virgin ascending the steps to the temple; f. 104 (Omnibus consideratis), Christ being nailed to the cross, and (idem, to the Cross), 3 tau-crosses, the center one with the INRI legend; f. 104v (idem, to his head), Veronica; f. 105 (idem, to the wound in his right hand); a right hand, wounded, emerging from a blue cloud ruffle, and (idem, to the wound on his left hand), a left hand; f. 105v (idem, to the wound in his side), a wounded heart, surrounded by 4 circles of flesh, wounded; f. 106 (idem, to the wound in his right foot), a right foot and (idem, to the wound in his left foot), a left foot; f. 106v (idem, to John the Evangelist), John holding the chalice; f. 108 (7 words from the Cross), Crucifixion with the thieves on either side. Illustration in the calendar: 2 square miniatures at the top of the recto, showing the monthly occupation and the zodiac symbol. Major initials, 6- or 5-line, in white-patterned blue against pink and gold grounds, or against a plain gold ground, with infilling of lush acanthus leaves, “English” in style; 2-line initials in gold on pink ground with blue infilling, or vice versa; 1-line initials, blue with red penwork, or gold with black. Line fillers in the litany in alternating rows of blue or gold squiggles. Rubrics in red. Bound by Lortic for Robert Hoe in brown mosaic morocco in 1884, from a previous binding of “old velvet,” according to a note on f. iii signed by Hoe; red morocco doublures; gilt edges. Written in the middle of the fifteenth century in Flanders, probably Bruges, for export to England; on f. 1, s. XVI, is the note “Jesus have marci a pon us/ Johannes busshells boke tayller,” and below this, the name “Arthur,” erased. The book was n. 606 in an English book dealer’s catalogue, and later, apparently, belonged to Dawson Turner (1775-1858), who signed a slip of paper quoting Sir Francis Palgrave, Sir Frederic Madden, and Mr. Shaw on the date and origin of the manuscript; these opinions are dated 1832 and 1835; Dawson Turner sale, London, 7 March 1853, n. 1880 to Pickering. Robert Hoe signed and dated the same slip mentioned above with his date of purchase (?), 1872. See Robert Hoe, A Lecture on Bookbinding as a Fine Art, delivered before the Grolier Club February 26, 1885 (Grolier Club 1886) pl. 58; Grolier Club (1892) n. 17; Bierstadt (1895) p. 25; Cat. (1909) pp. 50-52; his sale, Anderson, New York, 1911, pt. I, n. 2129 to G. D. Smith. Source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 97.
Flanders, 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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