Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Rome1. ff. 1-12v: Rather empty calendar, alternating red and blue, with major feasts in gold; f. 13r-v, ruled, but blank. 2. ff. 14-19: Pericopes from the Gospels; ff. 19v-20v, ruled, but blank. 3. ff. 21-96v: Hours of the Virgin, use of Rome; suffrages of All Saints from lauds to compline; Salve Regina follows compline; weekly variations of psalms at matins given without rubrics on ff. 78v-87; Advent office begins on f. 87. 4. ff. 97-116v: Penitential psalms and litany, including Martialis as the last of the apostles. 5. ff. 117-160v: Office of the Dead, use of Rome. Hours for each day of the week, arts. 6-12, as follow: 6. ff. 161-164v: Short hours of the Trinity. 7. ff. 165-168v: Short hours of the Dead. 8. ff. 169-174v: Short hours of the Holy Spirit; rubric for sext miswritten “ad primam.” 9. ff. 175-178v: Short hours of All Saints. 10. ff. 179-182v: Short hours of the Eucharist. 11. ff. 183-190v: Short hours of the Cross. 12. ff. 191-194v: Short hours of the Virgin. 13. ff. 195-198v: Short hours of St. Catherine. 14. ff. 199-202: Septem gaudia beate marie virginis, Virgo templum trinitatis…[Wilmart, 329, n.]; f. 202v, ruled, but blank. 15. ff. 203-236: Prayers in Latin as follow: Oratio trina Dicenda ad trinitatem, Aperi domine os meum ad laudandum et benedicendum sanctissimum et ineffabile nomen tuum…; Ad patrem oratio, Adoro te domine deus pater ingenite…; Oratio, Respice domine quesumus super cunctam familiam tuam…[HE, 115, first paragraph only]; Fides catholica, Credo in deum patrem omnipotentem…; Oratio ad filium, Adoro te Domine Iesu christe unicum dei filium verum deum et verum hominem…; Oratio, Omnipotens sempiterne deus dirige actus nostros…; Symbolum angelorum, Gloria in excelsis deo et in terra pax hominibus bone voluntatis…; Oratio ad spiritum sanctum, Adoro te spiritus paraclite verum deum precedentem ab utroque…; Ultima ad patrem oratio, Mentes nostras quesumus domine paraclitus spiritus sanctus illuminet…; Ut gratias referas altissimo oratio, Gratias ago tibi domine deus eterne de vita mea, salute et sanitate mea…; Sancti thome de aquino Oratio, Concede michi misericors deus que tibi placita sunt…[Doyle, “Thomas Aquinas”]; Pro viatgio [sic] devotissima oratio, In viam pacis salutis et prosperitatis dirigat dominus gressus nostros…[with canticle, verses and responses, ending:] Vers. Ora pro nobis beate Iuliane. Resp. Ut digni efficiamur. Oremus. Oratio, Adesto domine supplicationibus nostris…; Beate marie virginis devota oratio, Benedicat me deus pater qui cuncta de nichilo creavit…; Sequitur quedam oratio Defunctorum devota, Avete omnes anime fideles quarum corpora hic et ubique requiescunt in pulvere…Vers.…Resp.…Oratio, Domine ihesu christe salus et liberatio…[the set printed in Leroquais, LH 2:341]; Sanctus Gregorius dum fuit summus pontifex…, O domine ihesu christe adoro te in cruce pendentem…[Leroquais, LH 2:346, but his sections here ordered 1, 2, 4, 7, 3]; Alia oratio, Ave vulnus lateris nostri redemptoris…[RH 24031; on f. 214, a diagram of the wound and of the height of Christ]; Oratio ad staturam Domini nostri ihesu christi, Adoro te Domine Ihesu Christe salvator et sacratissimam staturam corporis tui…[with an indulgence conceded by Pope Innocent: Qui orationem precedentem ad vulnus Domini Nostri Ihesu Christi devote dixerit…Et hec linea vigesies multiplicata christi longitudinem representat…Non patietur Epylentiam, non capietur nec Morte subitanea peribit…]; Sequitur alia oratio, Domine deus omnipotens pater filius et spiritus sanctus. Da michi famulo tuo G. victoriam contra Inimicos meos…[de la Mare, Lyell Cat., 373, n. 88]; Oratio phebus, Domine deus creator et salvator et redemptor omnium Tue bonitati et clementie Regratior humiliter…[not identified in G. Tilander, P. Tucoo-Chala, eds., Gaston Febus, Livre des Oraisons, Pau 1974]; Domine ihesu christe redemptor mundi defende me de manu inimicorum meorum…; Bonifatius papa quartus et innocentius Quintus concesserunt…, Obsecro te…Et michi famulo tuo G.…[Leroquais, LH 2:346]; Hec de sepulcro sancte et dei genitricis oratio…, Domine ihesu christe fili dei patris omnipotentis, Tu qui es deus angelorum et filius beatissime virginis Marie…; Alia beatissime virginis Marie oratio, O intemerata…orbis terrarum. Inclina aures…[Wilmart, 488-90]; Oratio septem verborum Domini in cruce, Domine ihesu christe qui in cruce septem verba…[Leroquais, LH 2:342]; De Beata maria Magdalena, Gaude pia magdalena Spes salutis vite vera…[RH 6895; suffrage with versicle, response and 2 prayers]; Oratio sancti augustini ad proprium custodem angelum, Obsecro te o mi angelice spiritus cui ego ad providendum datus sum…[Wilmart, 542]. 16. ff. 236-244v: Penitential material in Provençal as follows: La confession, Quascun fizel christia segon l’ordenansa De sancta mayre gleisa…; Las circumstantias En los peccatz…; De los sinc sentimens Corporals…; De los set peccatz mortals…; Rams de superbia…; Rams D’avaricia…; De luxuria…; De Ira…; De Gola…; De Enuegia…; De pigressa…; De las vertutz contra los peccatz…; Dels set Dos del sant espirit…; Dels × mandamens…; De los peccatz qe cridan davant dieu…; Las iiiie vertutz cardinals…; De las iii vertutz theologals…; Dels sagramens de la gleisa…; Dels articles de la fee…; Dels vii peccatz contra lo sant espirit…; Dels peccatz de oration…; Las obras de misericorde…; De las obras de misericordia Spiritualas…; De Los viiit peccatz D’autruy…; Dels peccatz abominatz…; De las viit Beatitutz Evangelicals…; De la vertuz Contra los peccatz venials…; De los dotze fruitz del sant espirit…; Dels cazes que ammentan La confession…; ff. 245-248v, ruled, but blank.
France, s. XVin and s. XVex
C. Brunel, Bibliographie des manuscrits littéraires en ancien provençal (Paris 1935) n. 53. E. Roditi, “Huntington Library Manuscript HM 1104: A Religious Orthodox Text in Provençal,” Annali dell’Istituto Universitario Orientale 22, 1 (Naples 1980) 189-200. In two parts: 1, ff. 1-202, written in the early fifteenth century; 2, ff. 203-248, added at the end of the century. Parchment, ff. ii (paper, with silk glued to the recto of the first) + 248 + ii (paper, with silk glued to the verso of the second); 263 × 178 (133 × 75) mm. 16 26(+1 leaf in the second half; the last leaf is blank) 38(-1 leaf in the second half; through f. 20, blank) 4-68 76(through f. 50) 810(through f. 60) 98 104(through f. 72) 11-158 164(through f. 116) 17-218 22-244 256(through f. 174) 26-274 288(through f. 190) 294(through f. 194) 30-314(through f. 202) 32-368 376. Note that the divisions of the text, arts. 1-14, correspond to breaks between the quires; this is particularly evident for the series of short hours, arts. 6-13, and the Seven Joys, art. 14: each is copied on a separate quire. Catchwords in part 2 only, written vertically along the inner bounding line; quire and leaf signatures in this part as letters, a-[f], and roman numerals, with an × on the first leaf of the second half of the gathering. 15 long lines; part 1 ruled in pale red ink; part 2 in light brown ink. Written by 3 scribes: i, ff. 1-160v, 169-174v (quire 25, Hours of the Holy Spirit) and 183-190v (quire 28, Hours of the Cross) in a gothic book hand; ii, ff. 161-168v, 175-182v and 191-202 in a less precise gothic book hand; iii, Part 2, ff. 203-244v in a careful cursive rounded hand, with some traces of gothic. Twenty-two large miniatures,1 the majority executed, s. XVin, in the style of the Master of Luçon2; a second artist, contemporary to the first, worked on the supplemental materials; his work coincides with that of the second scribe. At the end of the fifteenth century, part 2 was added to the book with its 3 miniatures by an artist working in the style of Jean Colombe; this artist also retouched the illustration of Part 1 in varying degrees. The miniatures of part 1 occur on the first recto of the quires, except for those on ff. 32, 56 and 65, which are positioned on one of the two rectos of the center bifolium. On f. 14 (Pericopes of the Gospels), John on Patmos with an eagle and a devil, completely done in the ca. 1490 period with continuous painting around the original text and initial, which now appears as if on a scroll; the original spray border is faintly visible below the later painting. On f. 21 (Matins), Annunciation; the faces, angel’s wings and the Virgin’s hair are retouched ca. 1490; U-shape border around the miniature of acanthus leaves spiraled around a rod; outer border of black ink sprays with gold leaves, flowers, birds and grotesques. The border has been repainted, ca. 1490, in the lower and outer sides, with a narrative sequence: Joachim ejected from the temple by the priests; he prays in the fields; he meets Anne at the Golden Gate; they bring the Virgin to the temple; the Virgin weaving. On f. 32 (Lauds), Visitation; the trees, landscape, hair and faces have been repainted; U-shape inner border of grotesque masks strung along a gold bar; outer border of black ink sprays with gold leaves and putti. On f. 45 (Prime), Nativity; the faces, Joseph’s mantle and probably the blue cherubim appear over-painted; U-shape inner border formed by a gold bar and flowers; in the black ink spray outer border, the animal grotesques seem to be retouched in silver. On f. 51 (Terce), Annunciation to the shepherds; comparatively little retouching, only on the angel’s face, the trees and grass; U-shape inner border of a gold bar with leaves; grotesques in the usual black ink spray outer border. On f. 56 (Sext), Adoration of the Magi; the faces, trees and the dark blue garments have been retouched, as have the wild men in the border, wherever dark blue or silver occur; U-shape inner border consists of a string of blue flowers. On f. 61 (None), Presentation in the Temple; faces and the areas in dark blue or silver are retouched; U-shape inner border in the form of a gold band with geometric designs; birds in the outer border, some of which were overpainted in silver. On f. 65 (Vespers), Flight into Egypt; faces, trees and Joseph’s deep blue mantle are retouched; U-shape inner border of a string of gold crowns; battling cupids in the outer black ink spray border may be unfinished. On f. 73 (Compline), Coronation of the Virgin; the faces, hair and probably the dark blue are added (although some of the dark blue may be the original undercoat, lacking the final modelling); U-shape inner border as a gold bar decorated with leaves; figures of the prophets in the outer border. On f. 97 (Penitential psalms), Last Judgment; Christ showing his wounds sits on the curved rainbow with Mary and John on each side; Christ’s hair and beard have been repainted to represent God the Father; the faces are also retouched; U-shape inner border consists of a gold bar of trumpet and leaf patterns; the outer border of oak leaves and acorns (repainted in silver) and hybrids battling, also retouched. On f. 117 (Office of the Dead), a funeral scene; the faces are retouched; U-shaped gold bar with leaves and berries around the miniature; in the outer border are 4 hooded figures, reading, whose faces appear unfinished with only the green-tinged underpainting applied; the dark blue garments also seem to lack the final modelling. On f. 161 (Hours of the Trinity), Gnadenstuhl, without the Dove; corresponding to the change of script at this point is a change of artist; also changed are the borders: the inner bar border is reduced to a simple 2-segmented strip to the right of the illustration; the black ink sprays are more sparse, and may have been traced over in a heavier black. On f. 165 (Hours of the Dead), Raising of Lazarus; done by the same painter as the Trinity; same simpler and more sparse border, with its black ink sprays probably reinforced later. On f. 169 (Hours of the Holy Spirit), Pentecost, by the first artist and scribe; the faces and hair are apparently retouched; U-shape inner border formed of a gold bar with a stream of blue trumpet blossoms; birds in the outer border. On f. 175 (Hours of All Saints), Coronation of the Virgin, as she holds the Child, by the second artist and scribe; a frame surrounds the miniature; sparse black ink spray in the border, perhaps retraced; a green parrot in the lower margin. On f. 179 (Hours of the Eucharist), completely repainted, ca. 1490, over what was probably the second artist’s work, as the sparse spray remains visible under the paint, and the script is that common to sections illustrated by him. The miniature depicts a bishop and a deacon kneeling before an altar with a monstrance which shows the image of the Crucifixion on the Host; across the lower margin, a woman receives the consecrated Host from a priest, and then exchanges it with a turbaned Jew for a tunic; in the last scene the Jew kneels before the bleeding Host which has been stabbed by a dagger; see M. A. Lavin, “The Altar of Corpus Domini in Urbino,” Art Bulletin 49 (1967) 3-10. As on f. 14, the text has been incorporated into a later scroll, held by 2 angels. On f. 183 (Hours of the Cross), Crucifixion, done by the first artist, and the text by the first scribe; the faces, body of Christ and hair were retouched ca. 1490; U-shape inner border as a gold bar decorated with colored leaves; the outer border includes soldiers, somewhat retouched in silver. On f. 191 (Hours of the Virgin), Creation of Adam and Eve, completely in the overpainted style of ca. 1490; it originally would have had the decoration of the second artist, with whom are associated the sparse black ink sprays, visible under the repainting, and the script of the second copyist; the text space has been transformed into a scroll held by 2 angels. The scene shows Adam and Eve kneeling before God while the Devil looks on from behind rocky hills; in the vignettes below, the snake with a female head. On f. 195 (Hours of St. Catherine), completely in the ca. 1490 style, presumably with the work of the second artist underneath; the text is set onto a scroll held by 2 angels; the continuous series of scenes show Catherine praying as angels break the wheel into pieces, a large crowd of people, and a number of slain youths in the lower margin. On f. 203 (prayer to the Trinity); this introduces Part 2, copied ca. 1490, and illustrated by the painter who retouched or repainted the preceding Part 1. In the Trinity depicted here, God the Father sits on a throne, a dove flies from his mouth to the Host set on a chalice and bearing the same shadow image of the Crucifixion as on f. 179; the border is of acanthus leaves, strawberries, grotesques and 2 angels supporting a coat of arms (see below). On f. 213 (prayer), Man of Sorrows with the emblems of the Passion and Mary and John on either side; in the continuous border, the scenes of Noli me tangere, the Crucifixion, Christ before Pilate, and the Road to Calvary; all are by the ca. 1490 painter. On f. 222 (Obsecro te), Virgin nursing the Child; an acanthus border, which includes a pelican; done ca. 1490 by the painter of Part 2. Major initials, 4- and 2-line, in white-patterned blue or pink against a colored ground (for the 4-line initials) or against a gold ground (for the 2-line initials), both infilled in gold with trilobe leaves; secondary initials, 1-line, gold with purple or black penwork, or blue with red. In Part 2, 2-line initials, painted gold against maroon or grey grounds. Band borders the length of the text, occurring at the presence of a 2-line initial, and consisting of acanthus leaves, flowers, rayed gold dots, in 2 styles: the first appears unfinished (lacking the shading in the leaves), is placed in the outer margins and stops after f. 50; the second style is usually placed to the right of the text and occurs sporadically before f. 50, and exclusively thereafter; the second style may include grotesques or strawberries. There are no band borders in Part 2. Rubrics in red for Part 1, in brownish red for Part 2. Ribbon line fillers in blue and gold in Part 1. Bound, s. XIX, in tooled red velvet with light blue watered silk endpapers; gauffered gilt edges. The first portion of the manuscript, ff. 1-202v, was copied at the beginning of the fifteenth century in two stages (probably concurrent). A first scribe copied the more usual texts of a book of hours, including the short hours of the Holy Spirit and of the Cross; he collaborated with the first artist who worked in the style of the Master of Luçon. A second scribe and illuminator were responsible for the less common material (the short hours of the Trinity, the Dead, All Saints, the Eucharist, the Virgin and St. Catherine) which was then meshed with the standard texts to convert the material to a full week of specific devotions. At the end of the century, ca. 1490, a later owner in the south of France added ff. 203-244 and had the illuminations of the first part retouched, sometimes extensively, by an artist whose style derived from that of Jean Colombe. This later owner’s coat of arms, f. 203: or a tree proper fructed or on a chief azure a rose gules between 2 leaves (?) in pale or. His name may have been “Julian,” as that saint is invoked in the suffrage on f. 210, and the initial “G” appears in the prayers, ff. 216, 220, 224; the prayer on f. 218v reads “…Sana me domine et libera me de isto languore B. et a presenti tribulatione G. ab omni infamia…” Acquired ca. 1830 by Sir John Hayford Thorold of Syston Park; his book plate and monogrammed label on the front pastedown; his sale, Sotheby’s, 12 December 1884, lot 965 to Quaritch; in the Quaritch General Catalogue 6 (1887) n. 35711, and in that firm’s Hand-list (1890) n. 11. The manuscript belonged to E. Dwight Church (1835-1908); his ex libris on the pastedown with “400 Eng” penned on the lower margin; in his Catalogue…of English Literature (1909) vol. 1, n. 400 with a plate of f. 21. A pencilled note on f. ii calls the manuscript “Heures de la Rose,” using the name first applied in the 1887 Quaritch catalogue and taken up in the Church catalogue. Henry E. Huntington bought the Church collection in 1911. Bibliography: De Ricci, 93. S. C. Chew, The Pilgrimage of Life (Yale University Press 1962) fig. 1 of f. 191.
1 This description owes much to extensive notes left by Dorothy Miner.
2 We thank Prof. James Marrow for this and the following 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.
All rights to the cataloguing and images in Digital Scriptorium reside with the contributing institutions.