Guide To Medieval and Renaissance Manuscripts in the Huntington Library


EL 9 H 17

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PSALTER
England, s. XIV1
1. f. 1: 2-part drawing (see below); f. 1v, blank. 2. ff. 2-12: Ici comencent les hores de la passioun; hymn at matins, In passione domini qua datur salus homini…[RH 8722]. [ff. 12v-13v, blank] 3. ff. 14-18: Hic incipit officium crucifixi compositum per dominum Iohannem papam xxii et indulget omnibus vere penitentibus…[Short hours of the Cross; each hour followed by an 8-line stanza, rhyming in couplets:] Ad matutinas secundum urbanum, Sire ihesu que par tun duz pleisir…[Sonet 2043]. [f. 18v, blank] 4. ff. 19-26: Hours of the Virgin, Dominican use, beginning with vespers and compline; suffrages after the hours of All Saints and for peace; changed office begins on f. 23v; on ff. 24v-26, suffrages of Dominic, Peter martyr, pro ordine predicatorum, Thomas Aquinas. 5. ff. 26-35: Psalter of St. Jerome, lacking the last 4 words at the bottom of f. 35 [HE, 116-22]. [f. 35v, blank] 6. ff. 36-41v: Calendar with entries in the dark brown ink of the text, pink, green, red, blue and gold, with many English saints; included are: Chad “episcopi lychefeld” (1 March, in gold), “Resurexio domini” (27 March, in gold), Translation of Dominic (24 May, in pink), Translation of Francis (25 May, in ink of text), Translation of “Eadwardi archiepiscopi cantuariensis” (sic, for Edmund; 9 June, in pink), Botulph (17 June, in red), Alban “prothomartyr anglorum” (22 June, in pink), Etheldreda (23 June, in red), Swithun (2 July, in ink of text), Translation and Ordination of Martin (4 July, in pink), Translation of Thomas of Canterbury (7 July, in gold), Translation of Swithun and Edith (Edith of Polesworth? 15 July, in ink of text), Clare (12 August, in ink of text), Michael Archangel (21 and 29 September, in gold), Francis (4 October, in blue), Martin (11 November, in gold), Edmund archbishop (16 November, in red), Thomas of Canterbury (29 December, in gold). 7. ff. 42-175v: Biblical psalter; one leaf missing after f. 145 with loss of text, Ps. 109, 1-110, 7. 8. ff. 175v-187v: Ferial canticles, Te deum, Benedicite, NT canticles, Quicumque vult, lacking the last word at the bottom of f. 187v. 9. ff. 188-192v: Litany including Oswald, Clarus, Alban, Saturninus, Quentin, Arnulph and Edmund among the martyrs; Audoenus, Taurinus, Cuthbert, Romanus, Wandregisil, Philibert, Robert (of Molesme?), Botulph and Hugh (of Lincoln?) among the confessors; Anne, Edburga, Frideswide, Modwenna, Edith, Genevieve, Aurea, Christina, Eulalia, Etheldreda, Wilburga, Sexburga, Mildred, Radegundis, Matilda and Columba among the virgins. 10. ff. 193-199: Office of the dead, use of Rome. [ff. 199v-200v, blank] Parchment, ff. ii (modern paper) + 200 + ii (modern paper); 270 × 180 (188 × 106) mm. Collation beginning with f. 2: 18 24 (through f. 13) 3-48 5-66 (through f. 41) 7-198 208 (-1, after f. 145) 21-268. Catchwords within narrow double rules. Leaves alone signed in the first 6 quires (arts. 2-6) in roman or arabic numerals or in letters; thereafter quires and leaves signed in letters, a-u, and roman numerals or horizontal strokes. 21 long lines usually ruled in ink, but occasionally in lead (e.g. ff. 2-9v, 11v-12, 14-18, 110-124v, 127-129v). On the ink ruled leaves: top line full across; middle 2 and bottom 2 lines stop at the end of the written space but pick up again in the extreme inner and outer margins beyond the narrow double rules which constitute an additional outside frame on all 4 sides of the written space. On the lead ruled leaves: top and bottom 2 lines full across; narrow double rules only on the last leaf verso of the quire in the lower margin for catchwords. In the calendar, ruling in rose and green. Written in a textura script, with the “i” often indicated by hair-line curlicues; arts. 2 and 3 possibly by a different scribe, or by the same person using a less formal script. On f. 1, preparatory pen drawing in fine style for a 2-part miniature, 183 × 107 mm.; above, Gnadenstuhl (in configuration, but without the Dove); below, Adoration of the Magi with the Virgin nursing the Child. In art. 2, space reserved for a 9-line initial, while the 2-line initials in blue, dusky pink and gold have a rough, unfinished appearance and are probably by a different hand from those in the main body of text (arts. 6-10); 1-line initials alternating blue with red flourishing and gold with purple. In the lower margins of art. 3 (short hours of the Cross), 7 2-part miniatures, 78 × 107 mm., those on the left depicting scenes of the Passion on gold grounds; the others, on a diapered ground, depend iconographically upon the French verses: f. 14v, left, Betrayal; right, Harrowing of Hell, from a hell-mouth; f. 15, left, Christ before Pilate; right, Noli me tangere; f. 15v, left, Flagellation; right, Pentecost; f. 16, left, Nailing to the Cross; right, Annunciation; f. 16v, left, Crucifixion; right, Ascension; f. 17, left, Deposition; right, Last Supper; f. 17v, left, Entombment; right, Agony in the Garden; in art. 3, borders, initials and line fillers similar to those in the main body of the text. In arts. 4 and 5, although the script resembles that of the main body of text, the decoration is as in art. 2, with spaces reserved for a 6- and 5-line initial on ff. 19 and 26; line fillers left unfinished, with the gesso only, on ff. 8r-v, 10v, 26-27v, 29-35. In art. 6 (calendar), roundels with faintly visible preparatory sketches in the margins depicting the zodiac symbols, except for the first, which shows a man warming his feet by the fire from a monthly occupation cycle (sketch too faint to determine if of the expected Aquarius symbol); note also that in the roundel for Libra, the scales are held by an angel, in a possibly intentional conflation with Michael Archangel, since he has 2 feasts in September in this calendar. In art. 7 and at the beginning of art. 8, 8 historiated initials, 9- or 8-line, in white-patterned blue or pink with leaves and grotesques on the initial itself with cusped borders on 3 sides, either U- or C-shaped and usually including small animal scenes and coats of arms (see below). The initials are similar in style to those in the Tickhill Psalter (New York Public Library, Spencer MS 26) and to those in the Grey-Fitzpayn Hours ( Cambridge, Fitzwilliam Museum, MS 242); for descriptions and plates of these manuscripts, see D. D. Egbert, The Tickhill Psalter and Related Manuscripts (New York 1940) and F. Wormald and P. M. Giles, Illuminated Manuscripts in the Fitzwilliam Museum (Cambridge 1966) n. 53. The initials depict: f. 42 (Beatus vir), on a stippled gold ground, David playing the harp, and in the lower margin, a rabbit hiding in the foliage while dogs chase a stag; in the outer margin, a stork looks up at a ladybug; f. 61 (Dominus illuminatio mea), on a diapered ground, David with one hand upraised palm outwards, and holding a book with the other; in the lower margin, 2 grotesque animals face each other menacingly across a coat of arms; f. 73v (Dixi custodiam), on a diapered ground, David pointing to his tongue; grotesques in the margin; f. 85v (Dixit insipiens), on a diapered ground, David pointing at the fool; in the lower margin a centaur with bow and arrows shooting at a stag, whose neck has already been pierced by an arrow while a dog follows it; f. 97v (Salvum me fac), on a stippled gold ground, Christ blessing in the upper part of the S, with Jonah emerging from the mouth of the whale in the lower; in the lower margin, a goat on his hind legs nibbling on the leaves of a tree; f. 113v (Exultate deo), on a diapered ground, David ringing bells with hammers; against the outer border 2 grotesques fighting; f. 129v (Cantate domino), on a diapered ground, 3 clerics singing “quare fremu//” while a fourth, singing the same thing, finds that his bottom half has turned into a grotesque and is walking away with him, although he bravely attempts to persevere with his singing; leaf missing after f. 145 with the beginning of Ps. 109, “Dixit dominus,” presumably illuminated; f. 175v (Confitebor tibi domine), on a diapered ground, a woman with a prayer book kneeling before an altar of the Virgin and Child; a grotesque in the border. 2-line initials to begin the psalms in white-patterned pink on a blue ground or vice versa, infilled with trilobe leaves, faces or grotesques against a gold ground, with extensions the length of the text in both colors of leaves, daisy buds and biting grotesques. 1-line initials alternating blue with red flourishing or gold with blue; blue and gold jigsaw line fillers, possibly including a bright orange-red from f. 138 (beginning of quire 19) on. Bottom line descenders occasionally with small faces (e.g. ff. 103v, 104v, 105v). Text corrected throughout. Bound, ca. 1840, in dark green morocco, blind tooled, with the Bridgewater crest stamped in gold on both covers; gilt edges. Written in England in the first half of the fourteenth century; art. 3 certainly after 1316, when John XXII became pope. The woman in the historiated initial on f. 175v may be intended to represent the first owner of the book. Of the 15 coats of arms in the borders, 2 may be associated with a Vernon family of Harlaston, Staffordshire and Haddon, Derbyshire; on f. 61, argent, a fret sable, a quarter gules; and, also on f. 61, the same but on the quarter a martlet argent. For a description of all the coats of arms, see The New Palaeographical Society ser. 2 pt. 3 (1915) text and plate 69, with reproductions of ff. 15 and 61. On f. 36, the first leaf of the calendar, s. XIVmed: “Domina Issabella de vernun dedit istud psalterium conventui de hanpul qui alienaverit excomunicatus est” referring to the Priory of the Virgin Mary of Cistercian nuns in Hampole, Yorkshire; see Ker, MLGB, 95. On f. 1, “N:1” in the hand of John Egerton (1579-1649), 1st Earl of Bridgewater, corrected to “N:1./6” by the second Earl (1622-86). The current Bridgewater pressmark and ex libris on the front pastedown. Acquired by Henry E. Huntington with the Bridgewater Library in 1917 (see pp. 5-7).
Secundo folio: [f. 3] Audi pater
Bibliography: E. G. Millar, English Illuminated Manuscripts (Paris and Brussels 1926-28) 2:85 n. 251. De Ricci, 130. Aspects of Medieval England, n. 35 open at f. 16. L. F. Sandler, “An early fourteenth-century English Psalter in the Escorial,” JWCI 42 (1979) 72 and n. 32. L. F. Sandler, Gothic Manuscripts 1285-1385 (London 1986) n. 53.
Abbreviations
Aspects of Medieval England
Aspects of Medieval England: Manuscripts for Research in the Huntington Library, an Exhibition prepared for the Medieval Academy of America, 14 April 1972 [San Marino 1972]
De Ricci
S. De Ricci, with the assistance of W. H. Wilson, Census of Medieval and Renaissance Manuscripts in the United States and Canada (New York 1935-37; index 1940)
HE
C. Wordsworth, ed., Horae Eboracenses. Surtees Society 132 (1920)
JWCI
Journal of the Warburg and Courtauld Institutes
Ker, MLGB
N. R. Ker, Medieval Libraries of Great Britain (London, 2nd ed. 1964)
RH
U. Chevalier, Repertorium hymnologicum (Louvain 1892-1912, Brussels 1920-21)
Sonet
J. Sonet, Répertoire d’incipit de prières en ancien français. Société de publications romanes et françaises 54 (Geneva 1956)

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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