Guide To Medieval and Renaissance Manuscripts in the Huntington Library
EL 34 A 1
BOOK OF HOURS, use of Paris1. ff. 1-12v: Full calendar in French alternating red and blue entries, with major feasts in gold, of the type printed by Perdrizet. 2. ff. 13-28v: Pericopes of the Gospels; Oroison a nostre dame, Obsecro te…[masculine forms; Leroquais, LH 2:346]; Oroison de nostre dame, O intemerata…orbis terrarum. De te enim…[Wilmart, 494-95]. 3. ff. 29-93v: Hours of the Virgin, use of Paris; opening and ending leaves of matins, before ff. 29 and 38, are missing, as is the opening leaf of lauds, before f. 38; short hours of the Cross and the Holy Spirit worked in from lauds through compline. 4. ff. 94-112: Penitential psalms, missing the opening leaf, and litany, including Denis among the martyrs; Hilary among the confessors; Genevieve among the virgins. 5. ff. 112v-148v: Office of the Dead, use of Paris. 6. ff. 149-166v: Suffrages of George, John the Baptist, John the Evangelist, Sebastian, Anthony abbot, Nicholas, Anthony of Padua, Claude, Julianus of Brioude (? in the manuscript “de vauvant”; the prayer is addressed to a female saint), All Saints, Catherine of Siena, Margaret, Catherine of Alexandria, Barbara, Mary Magdalene; Antienne de nostre dame, Salve regina…[RH 18147] with the prayer, Famulorum tuorum quesumus domine delictis ignosce…; Antienne de nostre dame, Ave regina celorum ave domina angelorum…[RH 2070] with the prayer, Omnipotens sempiterne deus qui gloriose virginis matris marie corpus et animam…[HE, 63]; Antienne de nostre dame, Inviolata integra et casta…[RH 9094] and the prayer, Deus qui de beate marie virginis utero…; suffrage of Christopher; Oroison a dire apres le sacrament, O pie o bone ihesu christe qui pro nobis mori dignatus es; De sancta Avoye antienne// Parchment, ff. i (parchment) + 166 + i (parchment); 126 × 90 (63 × 44) mm. 112 2-38 48(-1 and 8, before ff. 29 and 35) 58(-4 and 5, after f. 37) 6-118 126(-6, after f. 93, cancelled by the scribe) 138(-1, before f. 94) 14-198 208(-1, before f. 149) + ff. 156-166, of uncertain structure (ff. 159-160 and 165-166 are bifolia). 15 long lines, ruled in pale red ink. Written in a bâtarde script. Nine large miniatures in arched compartments above 4 lines of text; the outer borders contain the initials C. and C. often united with a lovers’ knot, pansies, columbines and red, brown and black droplets against a painted gold ground. The miniatures, in the style of the workshop of Maître François and partially repainted in the faces, are: f. 13 (Gospel of John), above 3 lines of text, John on Patmos, clearly depicted as an island, with the eagle holding his ink well; opening leaves for matins and lauds missing; f. 50v (Hours of the Cross), Crucifixion by a second, less skillful artist, with Mary, John, Mary Magdalene and others to Christ’s right, and the soldiers to his left; f. 52v (Hours of the Holy Spirit), Pentecost, set in an open loggia; f. 54v (Prime), Nativity with the left side of the shed corresponding to the edge of the picture; f. 62 (Terce), Annunciation to the shepherds and a shepherdess; f. 67v (Sext), Adoration of the Magi; f. 72v (None), Presentation in the temple, with both Mary’s and Simeon’s hands covered by white cloths; the scene framed by blue and gold columns and a pendant tracery arch at the top; f. 77v (Vespers), Flight into Egypt; f. 86v (Compline), Coronation of the Virgin, who kneels before the blessing Christ, as she is crowned by an orange angel, while other angels look on from behind a gothic wall; f. 112v (Office of the Dead), Job on the dunghill, visited by his friends and his wife. The small miniatures for the suffrages, 25 × 25 mm., 6-line, are by a less capable artist: f. 149, George; f. 149v, John the Baptist pointing to the Agnus Dei; f. 150, John the Evangelist holding the chalice with snakes; f. 151, Sebastian; f. 152v, Anthony abbot, with the tau-cross on his shoulder and the pig sitting up on its haunches looking at him; f. 153v, Nicholas; f. 154, Anthony of Padua, in his friar’s robe, holding a book; f. 155, Claude as a bishop, seated, with a man, presumably the owner of the book, kneeling before him; f. 156v, Julianus (of Brioude?), dressed as a soldier and holding a red banner decorated with fleur-de-lis; f. 157 (All Saints), a group of which John the Evangelist, Peter and Paul are identifiable; f. 158, Catherine of Siena, dressed in her Dominican nun’s habit, receiving the stigmata from a crucifix, while holding her heart for exchange with Jesus in her right hand; a crown of thorns encircles her head, and she stands on the devil; f. 159, Margaret; f. 159v, Catherine of Alexandria; f. 160v, Barbara standing beside her tower; f. 161v, Mary Magdalene; f. 164v, Christopher. 3-and 2-line initials in white-patterned rose or blue against burnished gold grounds, with infillings of colored trilobe leaves, or naturalistic flowers, or the initials C. and C. 1-line initials in painted gold against maroon or brown squared backgrounds; ribbon line fillers or dots in these colors; initials within the text touched in yellow. Band borders running the length of the text in the outer margin occur on the leaves with 2-line initials, and are traced when appropriate; the borders may include thin blue and gold acanthus leaves, pansies and other flowers, gold dots, logs and the initials C. and C. often tied with lovers’ knots. Rubrics in blue. On f. 19v, an erased inscription in French. Contemporary repairs on the fore edges of ff. 113-124. Pen trials on the back pastedown. Bound, s. XVI, in French dark brown calf with a blind stamped design; varnished; worn gilt edges. Written in France in the second half of the fifteenth century for owners whose names may have been Claude and Catherine, as indicated by the frequent use of the initials C. and C. in the decoration, and by the possible owner representation in the miniature of St. Claude, f. 155; the name of Catherine is suggested, less firmly, by the rather uncommon prominence given to Catherine of Siena, f. 158. The manuscript was acquired by Henry E. Huntington as part of the Bridgewater Library which he purchased in 1917 (see pp. 5-7). Bibliography: De Ricci, 133.
France, s. XV2
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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