Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Paris1. ff. 1-12v: Calendar in French in red with major feasts in blue; included are the feasts of Ansbert (9 February), Austreberta (10 February), Translation of Audoenus (5 May), Translation of Evodius (8 July), Commemoration of Wandregisil (23 July), Transfiguration (6 August, in blue), Victricius (7 August), Commemoration of Audoenus (25 August, in blue), Octave of Audoenus (31 August), “La dedicasse de l’eglise de rouen” (1 October), Evodius (8 October), Nicasius (11 October), Mellonius (22 October), Romanus (23 October, in blue), Octave of Romanus (30 October), “Translation des reliques de rouen” (3 December), “la conception nostre dame” (8 December, in blue). 2. ff. 13-19v: Pericopes of the Gospels, with prayers: John, followed by Protector in te sperantium…and Ecclesiam tuam quesumus domine…; Luke, followed by Deus qui de beate marie virginis utero…; Matthew, followed by Deus qui hodierna die unigenitum tuum…; Mark, followed by Concede quesumus omnipotens deus ut qui unigenitum tuum…; f. 20r-v, ruled, but blank. 3. ff. 21-76: Hours of the Virgin, use of Paris; from lauds to compline, prayers to the Holy Spirit, for forgiveness, for the Church; f. 76v, ruled, but blank. 4. ff. 77-83v: Quant on lieve le corps nostre seigneur, Ave rex noster fili david redemptor mundi…; Saultation [sic], Ave verum corpus natum de maria virgine…[Wilmart, 373-76]; Quant on lieve le calice dites, Ave vere sanguis domini nostri ihesu christi qui de latere eius…[Wilmart, 378, n.]; Ave salus mundi verbum miserere mei deus; Ave vere sanguis domini nostri ihesu cristi qui pro salute mundi…[Wilmart, 378, n.]; Anima christi sancifica me…[Leroquais, LH 2:340]; Ave domine ihesu christe verbum patris filius virginis…[Wilmart, 412]; Oratio, Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]; Oratio, Corpus et sanguis domini nostri ihesu christi et comunicatio sancti spiritus…; les sept vers saint bernart, Illumina oculos meos…[RH 27912] and the prayer, Omnipotens sempiterne deus qui ezechie regi…; Madame sainte margerite/ Digne vierge de dieu eslite…[Sonet 1083] followed by a suffrage of Margaret; f. 84r-v, ruled, but blank. 5. ff. 85-102: Penitential psalms and litany, including Hilary, Ivo and Germanus among the confessors; f. 102v, ruled, but blank. 6. ff. 103-110v: Short hours of the Cross. 7. ff. 111-117v: Short hours of the Holy Spirit. 8. ff. 118-125v: Obsecro te…[masculine forms; Leroquais, LH 2:346]; Oratio devotissima de beata maria, O intemerata…orbis terrarum. De te enim…[Wilmart, 494-95]; f. 126r-v, ruled, but blank. 9. ff. 127-170v: Office of the Dead, undetermined use; the responses to the lessons are: Qui lazarum; Credo quod; Domine quando; Heu michi; Ne recorderis; Domine secundum; Peccantem me; Requiem eternam; Libera me domine; ff. 171-175v, ruled, but blank. Parchment, ff. ii (contemporary parchment; ruled, but blank) + 175; 210 × 153 (107 × 68) mm. 1-26 38(through f. 84) 12-158 1610(through f. 126) 17-218 226 234(-4). Catchwords usually present in the lower right margin, in the script of the text; quire and leaf signatures, as letters of the alphabet and arabic numerals in the inner left corner of the recto, in a cursive script; a diagonal slash across the gutter indicates the middle of the quire. 15 long lines, ruled in pale red ink; pricking usually visible in the lower margin. Written in a gothic book hand in 2 sizes, according to liturgical function. Twelve large miniatures by 2 artists above 3 or 4 lines of text, in arched compartments; the more competent work by the Master of Sir John Fastolf.1 Borders usually consist of a wide gold bar with blue and vermillion leaf patterns in a U-shape around text and miniature, the bars themselves terminating at the 4 corners in multicolored acanthus leaves. The outer border usually contains black ink sprays with colored flowers and gold trilobe leves, the latter arranged as a row along the outermost edges. The miniatures are: f. 21 (Hours of the Virgin), by the Master, Annuciation, outside the frame of the miniature God, as a Jesus-figure, sends the Dove to Mary; the border, entirely of multicolored acanthus leaves, includes 2 small medallions of an angel with a pitcher and a basket, and of Mary weaving; in the historiated initial, Joseph making a table; f. 32v (Lauds), by the Master, Visitation, with Joseph standing behind Mary; f. 44 (Prime), by the Master, Nativity, against a deep blue starry sky; f. 50v (Terce), by the second, less capable artist, Annuciation to the shepherds; the top of the arched compartment is serrated; f. 55 (Sext), by the second artist, Adoration of the Magi, in a serrated compartment; f. 59v (None), by the Master, Presentation in the temple; f. 64 (Vespers), by the Master, Flight into Egypt and, in the background, the Massacre of the Innocents, against a tessellated ground; f. 71 (Compline), by the Master, Coronation of the Virgin by Jesus, against a tessellated ground; f. 85 (Penitential psalms), by the Master, David praying to God, shown above in a deep blue starry sky; in the background, David as the young shepherd who has just slain Goliath, while in the historiated initial David is shown writing; the entire border of multicolored acanthus leaves; f. 103 (Hours of the Cross), by the second artist, Crucifixion with Mary and John on either side, in a serrated compartment; f. 111 (Hours of the Holy Spirit), by the second artist, Pentecost, in a serrated compartment; f. 127 (Office of the Dead), by the Master, burial scene in a churchyard. Black ink spray band borders with flowers and gold trilobe leaves, traced through, the length of the text in all outer margins and in the inner margins of rectos at the presence of a 2-line initial. On ff. 13 and 77 this type of border surrounds the text on all four sides; on f. 172v, an offset of what was apparently a bracket border of this style, with a 4-line initial [D?]. Major initials, 4- or 3-line, in white-patterned pink or blue on a cusped gold ground infilled with colored trilobe leaves; 2- and 1-line initials in gold against white-patterned pink or blue grounds with infilling of the other color; initials in the text slashed in yellow. Ribbon line fillers of white-patterned red and blue segments. Rubrics in red. Bound, s. XVIII, in Belgian brown morocco with gilt tooling; gauffered gilt edges; Dutch gilt endpapers. Written during the middle of the fifteenth century in France, probably for use in Rouen, given the saints in the calendar; the owners may have been in the parish of the Rouen Cathedral, as suggested by Delaissé, Marrow and de Wit, Waddesdon Manor, pp. 541, n., and 554. On ff. 1 (erased but legible) and 13, is the note in a rounded gothic hand: “Monasterii et Cellae Abbatis Septimi,” which may refer to the Premonstratensians of Septfontaines near Reims. Owned by Brayton Ives (1840-1914); his sale, American Art Association, New York, 5 March 1891, n. 627. Belonged to Robert Hoe: Grolier Club (1892) n. 25; Cat. (1909) pp. 45-46; his sale, Anderson, New York, 1911, pt. I, n. 2131 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 92. M. Meiss, French Painting in the Time of Jean de Berry: The Boucicaut Master (London 1968) 140.
France, s. XVmed
1 We thank Mme Nicole Reynaud for confirming this attribution.
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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