Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Paris1. ff. 1-6v: Full calendar in French with major feasts in gold and the others alternating red and blue. 2. ff. 7-12v: Pericopes of the Gospels, that of John followed by the prayer, Protector in te sperantium…[Perdrizet, 25]. 3. ff. 13-18v: f. 13, illumination; ff. 13v-14, ruled, but blank; ff. 14v-18v, prayers as follow: Devote oraison a nostre dame, Ave cuius conceptio…[RH 1744] with the prayer, Deus qui nos conceptionis nativitatis…; Devote oroison a nostre dame, Salve regina…[RH 18147] with the prayer, Concede nos famulos tuos quesumus domine deus perpetua mentis et corporis sanitate gaudere…; Inviolata integra et casta…[RH 9094]; oratio, Salve mater pietatis…[RH 18039]; Ave regina celorum…[RH 2070]; S’ensuivent les sept vers saint bernard, Illumina oculos meos…[RH 27912, here written as 8 verses] with the prayer, Omnipotens sempiterne deus qui ezechie regi…; Antienne a nostre dame, Ave domina sancta maria mater dei; Regina celi letare…[RH 17170] with versicles, response and prayer, Concede nos famulos tuos quesumus domine perpetua mentis et corporis sanitate gaudere… 4. ff. 19-63v: Hours of the Virgin, use of Paris; 9 psalms and lessons at matins without intermediary rubrics; the prayer, Ecclesiam tuam quesumus domine benignus…finishes all hours, lauds through compline; the opening leaf of compline missing between ff. 59-60; f. 63v, ruled, but blank. 5. ff. 64-66: Short hours of the Cross. 6. ff. 66v-68v: Short hours of the Holy Spirit. 7. ff. 69-81: Penitential psalms and litany including Denis, Quentin and Quiriacus among the martyrs; Remigius among the confessors; Genevieve among the virgins. 8. ff. 81v-108v: Office of the Dead, use of Paris. 9. ff. 109-127v: Prayers as follow: Obsecro te…[masculine forms; Leroquais, LH 2:346]; Devote oroison a nostre dame, O Intemerata…orbis terrarum. De te enim…[Wilmart, 494-95]; E Tres doulce dame pour icelle grant Ioye…[Sonet 458, the 15 Joys, without the prologue]; Biau sire dieu regardes moy…[Sonet 504, the 7 Requests, without the prologue]; Saincte vraye croys aouree…[Sonet 1876]; suffrages of Michael, John the Baptist, John the Evangelist, Peter and Paul, James the Greater, Stephen, Lawrence, Mary Magdalene, Catherine of Alexandria, Margaret, Barbara, Apollonia. Parchment, ff. i (paper) + vi (modern parchment) + 127 + vi (modern parchment) + ii (paper); 170 × 124 (110 × 62) mm. 1-36 4-88 94(+5, f. 63) 10-148 15-176(through f. 121) 186. Catchwords in the script of the text in the center lower margin. Usually in 22 long lines, but with 17 on ff. 7-12v (quire 2), and with 21 on ff. 13v-26v (quires 3 and 4) and on ff. 109-121v (last leaf of quire 15, quires 16 and 17); the center bifolium of quire 15, ff. 106-107v, written on 23 long lines. Ruled in pale red ink. Written in at least 3 variations of the same stylized round gothic script: i, ff. 1-6v, 19-108v, 122-127v; ii, ff. 7-12; iii, 14v-18v, 109-121v. Differing sizes of the script used to indicate liturgical function. Thirteen large miniatures above 4 lines of text, enclosed by painted gold architectural frames; both text and miniature surrounded by full borders of painted gold with multicolored acanthus leaf foliage and grotesques. The miniatures are: f. 7 (Gospel of John), John on Patmos; the frame of gold columns; with inset blue panels; f. 19 (Hours of the Virgin), Annunciation, seen through jewelled columns; the outer border consists of a series of small vignettes showing the meeting of Joachim and Anne at the Golden Gate, the birth of the Virgin, Mary ascending the steps to the temple, Mary weaving while an angel holds her book open, the betrothal of Mary and Joseph; this leaf by a less capable artist than the rest of the book; f. 34v (Lauds), Visitation, done by a more competent artist; f. 42v (Prime), Nativity with Joseph warming the infant’s swadling clothes by the fire; f. 46v (Terce), Annunciation to the shepherds, with 2 angels in the sky holding a scroll inscribed “Gloria”; f. 49v (Sext), Adoration of the Magi; f. 52v (None), Presentation in the temple; f. 55v (Vespers), Massacre of the Innocents by 2 soldiers while Herod, enthroned, watches; through an open window the Holy Family is seen fleeing to Egypt; opening leaf for compline missing; f. 64 (Hours of the Cross), Crucifixion with Mary, John and others to Christ’s right, and the soldiers to his left; f. 66v (Hours of the Holy Spirit), Pentecost; f. 69 (Penitential psalms), David watching Bathsheba at her bath; in place of the usual floral border, the architectural columns occupy the entire space, and bear statues of cupids at the top, and, in a freize at the bottom, images of David handing the letter to Uriah and of Uriah being killed in battle; the 4 lines of text on this leaf decorated to appear as if inscribed on a scroll; f. 81v (Office of the Dead), Death, as a corpse astride a bull, attacking a lady with his lance; others lie already dead on the ground; f. 109 (Obsecro te), Pietà. Smaller miniatures are: f. 9, 8-line, half of the width of the text, in a simple gold frame, Luke; f. 10v, 8-line, Matthew; f. 12, 8-line, Mark; f. 13 (followed by a blank opening, ff. 13v-14), a full page miniature divided into 4 compartments by the painted gold architecture showing the Crucifixion, Deposition, Pietà and Entombment; f. 14v (Ave cuius conceptio), 8-line plus the height of the arch, Anne in prayer with the rayed image of the yet unborn Virgin shining through her womb; f. 17 (Illumina oculos meos), 8-line plus the height of the arch, Bernard writing while the Devil steals his ink-well; f. 112 (O Intemerata), 10-line, the Virgin and Child on a crescent; f. 122, 10-line, Michael, seen in half-length, holding the scales; f. 122v, 9-line, John the Baptist pointing to the Agnus Dei which he holds in his hand; f. 123, 9-line, John the Evangelist holding the snaky chalice; f. 123v, 11-line, Peter and Paul with their attributes; f. 124, 9-line, James the Greater holding his staff and books; f. 124v, 11-line, Stephen; f. 125, 11-line, Mary Magdalene; f. 125v, 12-line, Catherine of Alexandria; f. 126, 11-line, Margaret; f. 126v, 9-line, Barbara; f. 127v, 9-line, Apollonia. Miniatures in the calendar represent the occupations of the month at the top of the page, enclosed by gold columns and a half-oval arch; the zodiac signs are in rectangular frames at the foot of the page; the border completed on all four sides by the same style floral pattern as in the rest of the book. 3-line initials as shaded white ribbons against square painted gold grounds decorated with black ink dots and commas, and with naturalistic flowers or strawberries in the infilling; 3-line initial, f. 7v, in faceted gold against a blue ground decorated with white sprays; some 3-, and all 2- and 1-line initials in painted gold on gold decorated blue, brick red or ochre grounds; ribbon line fillers in these colors. Rubrics in blue. Traced band borders on every page, running the length of the text, outlined in black, in the same style as the full borders, each with a large grotesque. Bound by Bernard David and finished by Marius Michel for the person who carefully wrote out notes in French regarding the manuscript on the front and back flyleaves; the notes are dated January 1866 and are signed “E.S.” (?). Brown morocco binding inlaid with various colors to an entrelac design, green morocco doublures elaborately tooled in the style of Eve; gilt edges gauffered with acanthus and grotesque patterns based on the borders of the manuscript; brown morocco slipcase. Written in the early sixteenth century in France, where it remained at least through the middle of the nineteenth century. De Ricci suggests that it was bound for William Martin, although it does not appear in Martin’s 1869 sale; on f. i verso, the morocco book label of Henri Bordes; not traced in his sales. Belonged to Robert Hoe: Grolier Club (1892) n. 38 with a plate of f. 19; Cat. (1909) pp. 79-80; his sale, Anderson, New York, 1912, pt. IV, n. 2349 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 98.
France, s. XVIin
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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