Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Rome1. ff. 5-7v [ff. 1-4 are pastedown and flyleaves]: Full calendar, usually alternating red and blue with major feasts in gold, in 2 columns each of one month; among the saints are: Salvius (10 January), Aventinus (4 February), Austregisil (15 February), Aphrodosius (22 March), Medard (8 June), Philibert (20 August), Basolus (15 October), Magloire (23 October as “episcopi” and 24 October as “confessoris”), Livin (12 November). 2. ff. 8-18v [f. 8, blank]: Pericopes of the Gospels; Passion according to John, followed by the prayer, Deus qui manus tuas…; Oratio devota ad beatam virginem mariam, Obsecro te…[masculine forms; Leroquais, LH 2:346]; Alia oratio ad beatam virginem et ad sanctum Iohannem, O Intemerata…orbis terrarum. Inclina mater…[Wilmart, 488-90]; Salve Regina…[RH 18147]. 3. ff. 19-51v [f. 19, blank]: Hours of the Virgin, use of Rome; suffrages of All Saints from lauds to compline; weekly variations of the psalms at matins begin on f. 43v; Advent office begins on f. 47; Beatus gregorius papa instituit sequentes orationes et concessit…, O Domine iesu christe adoro te in cruce pendentem…[Leroquais, LH 2:346, with his n. 3 at the end]; Quedam devotissima contemplatio beate marie…, Stabat mater dolorosa…[RH 19416] with versicle, response and prayer, Interveniat pro nobis quesumus domine ihesu christe nunc et in hora mortis…; Alia oratio, Inviolata integra et casta es maria…[RH 9094] with versicle, response and prayer, Deus qui salutis eterne beate marie virginitate fecunda… 4. ff. 52-60v [f. 52, blank]: Penitential psalms and litany, including Victor, Denis, Hippolytus, Quentin and Quiriacus among the martyrs; Remigius, Eligius, Magloire and Cloud among the confessors; Genevieve, Anastasia and Chlothildis among the virgins. 5. ff. 61-63v [f. 61, blank]: Short hours of the Cross. 6. ff. 64-66 [f. 64, blank]: Short hours of the Holy Spirit. 7. ff. 66v-85: Office of the Dead, use of Rome. 8. ff. 85v-93v: Suffrage of the Trinity; Pater de celis deus miserere nobis. Domine sancte pater omnipotens eterne deus qui coequalem et consubstancialem…, Domine iesu christe fili dei vivi qui es verus…, Domine spiritus sancte deus qui coequalis…[to the Trinity; HE 124-25]; suffrages of the Holy Face, Michael, John the Baptist, John the Evangelist, Peter and Paul, James the Greater, All Apostles, Stephen, Lawrence, Christopher […et michi famulo tuo N…], Sebastian, Many Martyrs, Nicholas, Anthony abbot, Anne, Mary Magdalene, Catherine of Alexandria, Margaret, Barbara, Apollonia. Parchment, ff. 98 (of which 1 is the front pastedown, 2-4 are front flyleaves, 94-97 are back flyleaves, 98 is the back pastedown); 245 × 158 (160 × 83) mm. 14(ff. 4-7) 28(+1, f. 8) 312(+3, f. 19) 44 512 64 712(+3, f. 52, and 12, f. 61) 84(+1, f. 64, and 3, f. 66) 912 104 1110(-2 leaves in the second half?; ff. 86-93, with stitching between ff. 90-91). One catchword survives, f. 79v, in a small formal cursive script. 30 long lines, ruled in pale red ink; pricking occasionally visible in the outer margin. Written in a rounded script with humanistic influence. Nine full page miniatures by the Master of Philippe of Guelders1; see Plummer, Last Flowering, n. 91 and 92; of the 9, 6 are on the versos of inserted singletons, usually blank on the recto: ff. 8v, 19v, 52v, 61v, 64v and 66v; they are enclosed by painted gold architectural frames decorated with Renaissance ornaments and set against a dark background. The miniatures are: f. 8v (Gospel of John), Eve rising from the sleeping Adam’s rib, while God, depicted as Jesus, blesses them and water flows from a fountain in the background; f. 19v (Hours of the Virgin), the Cardinal Virtues: Justice (holding a sword), Temperance (holding tablets), Prudence (holding a mirror) and Fortitude (holding an anvil), with an angel standing behing them and the Trinity above; f. 20 (Hours of the Virgin), with 4 lines of text set on a scroll over the architectural frame, the Annunciation; f. 52v (Penitential psalms), David sending Uriah into battle; f. 53 (Penitential psalms), with 4 lines of text set on a scroll, David watching Bathsheba as she bathes in a fountain decorated with 2 gold cupids; f. 61v (Hours of the Cross), Road to Calvary; f. 64v (Hours of the Holy Spirit), the Apostles preaching and the Separation of the Apostles; f. 66v (Office of the Dead), the Rich Man at dinner, with a boy setting dogs on the begging Lazarus; f. 67 (Office of the Dead), the Raising of Lazarus. Smaller miniatures, with ruling visible under the painting, usually 11-line: f. 9, John writing with the eagle holding his inkwell; f. 9v, Luke; f. 10, Matthew; f. 10v, Mark, 10-line; f. 11v (Passion according to John), 20 line, Betrayal with Jesus holding Malchus’ bloody ear in his hand; f. 16 (Obsecrote), 18-line, the Virgin holding the baby Jesus on her lap, with an angel at either side; f. 17v (O Intemerata), Pietà; f. 25 (Lauds), 18-line, Visitation; f. 30 (Prime), 18-line, Nativity; f. 32 (Terce), 18-line, Annunciation to the shepherds; f. 34 (Sext), 18-line, Adoration of the Magi; f. 36 (None), 18-line, Presentatin in the temple; f. 38 (Vespers), 18-line, Flight into Egypt with the miracles of the corn field and the falling idol in the background; f. 41v (Compline), 18-line, Coronation of the Virgin by an angel as Jesus blesses her, with swirling blue clouds at the lower edge of the picture; f. 60 (Hours of the Cross), 18-line, Crucifixion with Mary, John and others on Christ’s right, and the soldiers on his left; f. 65 (Hours of the Holy Spirit), 18-line, Pentecost; f. 85v (Trinity), the Father, as a bearded young man, and the Son with stigmata sit together holding a book while the Dove hovers between them, and (idem, to the Father), God the Father as a young man, sitting, with the orb and gesture of benediction; f. 86 (idem, to the Son), same figure as above, but standing; f. 86v (idem, to the Holy Spirit), Pentecost without the Virgin; f. 86v (prayer to the Holy Face), Veronica holding the cloth with a black image of Christ’s face; f. 87v, Michael fighting the devil; f. 87v, John the Baptist pointing to the Agnus Dei which sits on a book; f. 88, John the Evangelist pointing to the poisoned chalice; f. 88, Peter and Paul; f. 88v, James the Greater, with staff and book; f. 89, Stephen; f. 89v, Lawrence; f. 89v, Christopher; f. 90, Sebastian; f. 91, Nicholas; f. 91, Anthony abbot; f. 91v, Anne teaching Mary to read; f. 91v, Mary Magdalene; f. 92, Catherine of Alexandria; f. 92v, Margaret; f. 92v, Barbara; f. 93, Apollonia. In the calendar a narrow strip at the top of the folio, 15 × 90 mm., encloses the 2 signs of the zodiac, while the monthly occupations are below, 35 × 90 mm. On every page, except where there are full page illuminations, traced geometric borders with acanthus leaves, naturalistic flowers, and occasional birds or insects against painted gold, brick-red or blur grounds. 4-, 3- and 2-line initials in painted gold on white-decorated blue grounds; 1-line initials in gold alternate blue or brick-red grounds; line fillers in these 2 colors with gold decoration, or as gold logs. Rubrics in pink. On both pastedowns and on the front and back flyleaves (foliated as ff. 1-4 and 94-98) are miniatures cut from a French book of hours, s. XVmed, in arched compartments above 4 lines of text, 100 × 75 mm. The miniatures, attributed by E. König, Französische Buchmalerei um 1450: der Jouvenal-Maler, der Maler des Genfer Boccaccio und die Anfänge Jean Fouquets (Berlin 1982) 254 to the artist of Paris, B.N. fr. 135-136 (by typographical error, this manuscript given as HM 1141), are: f. 1v (the front pastedown; Hours of the Virgin), Annunciation with text and miniature surrounded by a wide U-shaped frame of dark blue decorated with alternating white and orange roses; the outer border consists of white daisy-like flowers and smaller blue ones, growing from yellow-green leafy stems against a gold ground; f. 2v (Lauds), Visitation, in front of lavender city walls; the border is of blue or gold flowers, gold trumpets and yellow-green leaves; f. 3v (Prime), Nativity in the stable, with the Virgin lying on a red-draped pallet, the baby Jesus in a wattle manger; the border is of rather sparse black ink spray vines, gold trilobe leaves and, at regular intervals, a gold log, a rooster, a yellow-green log, a clump of violets, a gold pot of orange carnations; f. 4v (Terce), Annunciation to the shepherds among spiky hills; the U-shaped frame around text and miniature with continuously alternating blue carnations and pink flowers; the ivy spray outer border contains a peacock. On the back flyleaves, f. 94 (Sext), Adoration of the Magi, with the baby Jesus reaching for the gift; red cloth of honor and green wattle in the background; in the ivy spray border a bird and strawberries; f. 95 (None), Presentation in the temple, the interior of which is pale green with orange and blue vaulting; a band of gold and colors forms a U-shape around text and miniature; ivy spray outer border; f. 96 (Vespers), Flight into Egypt, with a similar gold and color U-shaped frame; a gold pot of flowers in the outer border; f. 97 (Hours of the Cross), Crucifixion with Mary and John against a tessellated background; gold U-shaped frame with red and green ivy leaves; in the outer border ivy spray and a clump of growing pink and blue flowers with yellow-green leaves; f. 98 (the back pastedown; Hours of the Holy Spirit), Pentecost, in a lavender building, with some of the apostles’ cloaks in bright yellow-green or orange; U-shaped gold frame with blue vine twisted about a red bar; outer border of black ivy spray. Bound, s. XVIIIin, in English gold tooled red morocco; gilt edges; front cover detached; brown morocco slip case by Riviere. Written in France, the main text in the early sixteenth century, the added miniatures in the middle of the fifteenth. Belonged to Sidney Herbert, 14th Earl of Pembroke (1853-1913); his sale, Sotheby’s, 25 June 1914, n. 109 with plates of ff. 19v-20 and one of the added miniatures, f. 2v, to G. D. Smith. Source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 92. A. Shickman, “Shakespeare’s ‘Figure of an Angel’: an iconographic study,” Colby Library Quarterly 17 (1981) 6-25 with a reproduction of f. 19v.
France, s. XVIin and s. XVmed
1 We thank M. François Avril for this identification.
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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