Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS1. f. 3v: Sequuntur hore beatissime virginis marie…, Ave maria gratia plena…; at the bottom of the written space an erasure of red ink which appears to read: Sequuntur hore beate virginis marie ad matutinas; the Hours of the Virgin are no longer present. 2. ff. 4-50v: Hours of the Passion; prayers to the Virgin, John the Evangelist, and All Saints follow lauds to compline; opening leaf of none missing between ff. 34-35; f. 51r-v, ruled, but blank except for rubric. 3. ff. 52-74: Hours of the Holy Spirit, with one lesson; hymn at matins, Veni creator spiritus…[RH 21204]; f. 74v, ruled, but blank except for rubric. 4. ff. 75-114v: Long hours of the Trinity. 5. ff. 115-136v: Suffrages of Michael, All Angels, John the Baptist, Peter and Paul, John the Evangelist, Andrew, James the Greater, All Apostles, Stephen, Denis, Lawrence, Christopher, All Martyrs, Martin, Nicholas, Anthony abbot, Godo, Maurus, All Confessors, Mary Magdalene, Anne, Catherine of Alexandria, Margaret, All Virgins, All Saints, for peace. 6. ff. 137-139: Prayers as follow: Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]; Item alia oratio, Anima christi sanctifica me…[Leroquais, LH 2:340]; Alia oratio, Ave domine ihesu christe verbum patris…[Wilmart, 412]; Alia oratio, Ave verum corpus natum de maria virgine…[RH 2175]; Memoria de trinitate antiphona, Te invocamus te adoramus…with versicle, response and prayer, Domine deus pater omnipotens nos famulos tuos tue maiestati… 7. ff. 139v-152v: 64 short prayers for the Sundays of the year and major feasts. 8. ff. 153-154v: Prayers as follow: Ad impetrandam gratiam spiritus sancti, Deus cui omne cor patet et omnis voluntas loquitur…; Contra malas cogitationes, Omnipotens et mitissime deus respice propicius ad preces nostras et libera corda nostra…; Contra temptationes carnis, Ure igne sancti spiritus renes nostros…; Ad postulandam gratiam lacrimarum, Omnipotens et mitissime deus qui sitienti populo…; Ad postulandum fidem spem et caritatem, Omnipotens sempiterne deus respice propicius ad preces ecclesie tue…; Sequitur oratio pro vivis et deffunctis [sic], Omnipotens sempiterne deus qui vivorum dominaris simul et mortuorum… 9. ff. 155-166v: Prayers as follow: Deus pater qui creasti Mundum et illuminasti…[RH 4477]; oratio, O celi terre domina O angelorum agmina…; oratio, Domine ihesu tuorum Propter merita sanctorum…; Oratio De beata virgine et de omnibus sanctis, Sancte dei genitricis marie semperque virginis gloriose…; Iuste iudex ihesu christe rex regum et domine…[RH 9910]; De sancto guillermo antiphona, O Guillerme pastor bone…[RH 13077] with versicle, response and prayer, Adesto supplicationibus nostris omnipotens deus…; ff. 167-168v, ruled, but blank. Parchment, ff. ii (modern parchment) + 168 + ii (modern parchment); 195 × 137 (97 × 60) mm. 1 (ff. 1-8: ff. 1-3, singletons, ruled, but blank, except for the now inappropriate rubric on f. 3v; ff. 4-5, center bifolium; ff. 6-8, singletons, with text following correctly) 2-48 58(-3, before f. 35, the opening leaf of none) 68 74(through f. 51) 8-148 158(-7, excised; through f. 114) 16-218 226. Catchwords, when present, usually in the script of the text and washed in yellow; occasionally in a small cursive (ff. 51v, 107v). Quires and leaves signed with letters of the alphabet, a-y, and arabic numerals in the gutter. 15 long lines, ruled in a pale brown-red ink, the top line full across; pricking visible in the lower margin. Written in a gothic book hand in 2 sizes according to liturgical function. Twenty-two large miniatures above 4 lines of text, both text and miniature enclosed by a U-shaped frame of narrow pink, blue and gold segments, growing out of the initial and sprouting ivy vines at the 4 corners; outer border of regularly positioned ivy vine with pink, blue and gold trilobe leaves. The miniatures have been attributed to the Master of Troyes by M. Meiss, French Painting in the Time of Jean de Berry: The Late Fourteenth Century and the Patronage of the Duke (London-New York 1967) 359; and French Painting in the Time of Jean de Berry: The Limbourgs and their contemporaries (New York 1974) 407; they are: f. 4 (Hours of the Passion), Betrayal, against a diapered ground; f. 20 (Prime), Scourging at the pillar, beneath a diaphragm arch; Christ is completely nude; background blue with gold squares; f. 24 (Terce), Christ before Pilate; blue-grey ground with white squares; f. 29v (Sext), Road to Calvary; red ground with gold squares; miniature for none missing before f. 35; f. 41 (Vespers), Deposition from the Cross, against a diapered ground; f. 46 (Compline), Entombment; blue ground decorated with gold squares; f. 52 (Hours of the Holy Spirit), Baptism of Christ with a tiny swan swimming in the stream; John pours the water from a bowl, while an angel holds Christ’s tunic, and a half-figure of God breaks through a star-shaped shatter of clouds; a scroll carries the words, “Hic est filius meus…”; f. 57v (Prime), Christ in a white robe with globe and staff followed by Peter, John the Evangelist and James (?), meeting Moses, horned, and Elijah in a bleak, mountainous desert; the Old Testament figures are in smaller scale; f. 60 (Terce), Pentecost, in an outdoor setting of bleak, spiral hills, under a blue sky split by the descending dove, with red rays curving down to the apostles; f. 62v (Sext), Peter, the keys over his arm, preaching to men and women sitting on the ground; red rays from the aperture in the sky above; f. 65 (None), Peter, holding a book, converting a group of men and women to the left, while John the Evangelist, holding the snaky chalice, converts people on the right in a setting of craggy hills, with red rays curving out of a ruffled quatrefoil aperture in the sky; f. 67v (Vespers), John the Evangelist and Peter with a crowd of disciples meeting Simon Magus, who has a large purse hanging from his arm and gold coins in his hand; a scroll against a square-patterned ground reads “Pecunia tua tecum sit in perdicione”; f. 71 (Compline), Peter, John the Evangelist and disciples meeting Ananias, who falls dead, dropping silver coins, while Sapphira, to the right, also offers a handful of silver, in the hilly desert; f. 75 (Hours of the Trinity), the 3 Persons sit side by side on a wide throne: to the left, a Christ-like figure with a brown beard holds a haloed dove on his lap and blesses; in the center the figure for God the Father, with a grey beard, holds an orb and blesses; to the right, a young man, like the first, but with a cross-nimbus holds a cross on which is hung the Crown of Thorns; all are dressed alike; background of blue angels; f. 115, Michael; f. 117v, John the Baptist sitting in the hilly desert in a hair shirt and blue mantle, and holding the forefeet of the Lamb; f. 120, Peter; f. 124, Stephen holding 3 small stones like a trefoil with the same arrangement of stones on his head; f. 127v, Martin, on horseback, with elaborate saddle, shares his cloak with a peg-legged beggar; tooled burnished gold ground; f. 130v, Mary Magdalene, against a square-patterned pink ground, each square being filled with a grotesque face; f. 132, Catherine of Alexandria, against a burnished gold ground patterned with squares; f. 166, William, bishop of Bourges, in miter, cope and dalmatic before the kneeling owner of this manuscript. 4-line initials in white-patterned pink or blue against cusped gold ground, infilled with colored trilobe leaves; 3-, 2-, and 1-line initials in alternating blue with careful red penwork, or gold with black; initials within the text touched in yellow. Jigsaw line fillers in blue and gold. Rubrics in red. Bound perhaps for Emile Bancel with interlaced initials “BB” by Thibaron in brown morocco with blue inlay, finished by Marius Michel; one of 2 silver fore edge clasps closing to pins on edge of top cover remains; gilt edges; parchment doublures. Written in the early fifteenth century in France; the suffrages to Godo and Maurus may suggest Verdun as the book’s destination; the first owner was apparently named William, and may have been connected with Bourges. Belonged to E. M. Bancel; his sale, Paris, 8 May 1882, n. 9 to Ellis. In the collection of E. Dwight Church (1835-1908), and in his Catalogue…of English Literature (1909) vol. 1, n. 399 with a plate of f. 41. The Church collection was acquired by Henry E. Huntington in 1911. Bibliography: De Ricci, 103.
France, s. XVin
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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