Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Paris1. ff. 1-12v: Full calendar in French of the type printed by Perdrizet; major feasts in gold, the others alternating red and blue. 2. ff. 13-22v: Pericopes of the Gospels; Obsecro te…Et michi famulo tuo N. impetres…[Leroquais, LH 2:346]; oratio, O Intemerata…orbis terrarum, de te enim…[Wilmart, 494-95]; f. 23r-v, ruled, but blank. 3. ff. 24-77v: Hours of the Virgin, use of Paris; 9 psalms and lessons at matins with rubrics giving divisions for the nocturns; the prayer, Ecclesiam tuam quesumus domine benignus…from lauds to compline at the end of each hour. 4. ff. 78-92v: Penitential psalms and litany, including Ivo, Evurtius, Amand (“amane”) and Aegidius among the confessors; Genevieve and Lucia among the virgins; f. 78 was originally the opening leaf of the Hours of the Cross: the first text has been erased and the beginning of the Penitential psalms written in, in an imitative gothic script (s. XVII?). 5. ff. 93-94v, 96-97v, 98r-v, 95r-v: //ciux flans et l’alaitastes…Doulce dame priez luy pour moy et pour toutes pe// [the 15 Joys, beginning and ending defectively; Leroquais, LH 2:310-11]; //que vous prinstes de vostre propre sapience…le larron en la crois quant il vous dist sire remembres// [the 7 Requests, beginning and ending defectively; Leroquais, LH 2:309-10]. 6. ff. 99-100: Short hours of the Cross, with the offices for none, vespers and compline only. 7. ff. 100v-137v: Office of the Dead, use of Paris; f. 100v was originally the opening leaf for the Hours of the Holy Spirit, as indicated by the rubric, de sancto spiritu, on f. 100; the first text was erased and the beginning of the Office of the Dead written in, in an imitative gothic script (s. XVII?). 8. ff. 138-139: Suffrage of Christopher, added in a different hand […michi famulo tuo…]; ff. 139v-142v, ruled, but blank. Parchment, ff. i (paper) + 142 + i (paper); 186 × 128 (99 × 65) mm. 112 28 34(-4, excised) 4-98 106(through f. 77) 118(-1, which has been replaced by a leaf, now f. 78, once at the end of another quire, bearing the catchword “et mortem”) 128(-8, after f. 92) ff. 93-102 (now all singletons with f. 95 bound out of order and with leaves missing before ff. 93 and 98) 13-178. Catchwords in a cursive script in the center lower margin. 16 long lines, ruled in pale red ink. Written in 2 sizes of a gothic book hand; another gothic script, s. XV, on ff. 138-139; imitative gothic scripts on ff. 78r-v and 100v. Ten miniatures, usually in square compartments above 5 lines of text, attributed to the Boethius Illuminator by M. Meiss, French Painting in the time of Jean de Berry: The Limbourgs and their Contemporaries (New York 1974) 372; see also his French Painting in the Time of Jean de Berry: The Late Fourteenth Century and the Patronage of the Duke (London 1967) 354. Both text and miniature enclosed by wide bands of a U-frame deriving from initials and usually composed of pink, blue and gold segments, which sprout narrow pink and blue branches at the four corners; the outer border contains colored and gold trilobe leaves, dots and flowers. The miniatures are: f. 24 (Hours of the Virgin), Annunciation, against a diapered background with God the Father appearing in the arch at the top of the miniature in a gold-ruffled blue aperture, with a lute-playing angel on either side; the U-frame is a gold band decorated with green, orange, and blue leaves; several grotesques in the outer border; f. 43v (Lauds), Visitation, against a diapered background; a man playing a vielle in the border; f. 52v (Prime), Nativity, with a coarsely shaded sky as background; Mary, sitting on a bed, holds the Child, while Joseph sits at a table, his head propped up on his elbow; in the border, a half-human grotesque; f. 57v (Terce), Adoration of the Magi; Joseph not present; in the border, a man sitting with a shield (?) in his hand; f. 61v (Sext), Annunciation to the shepherds, against a dark blue scroll background, with a figure of a man in the border; f. 65 (None), Presentation in the temple, against a diapered background; several grotesques and flowers in the border; f. 68v (Vespers), Flight into Egypt, against a diapered background; in the border, an old man seated tailor-style, reading; f. 74 (Compline), Coronation of the Virgin, with Jesus blessing her; diapered background; in the border, an angel playing a vielle and a grotesque; f. 78 (intended for the Hours of the Cross; now used for the Penitential psalms), Crucifixion, against a diapered ground; f. 100v (intended for the Hours of the Holy Spirit, but now used for the Office of the Dead), Pentecost, with the Dove descending from a white-ruffled blue aperture in the diapered background; a bearded man sits in the border. 3-line initials in white-decorated pink or blue against a burnished gold ground with colored trilobe leaf infilling; 3-, 2- and 1-line initials in burnished gold on pink grounds with blue infilling, or vice versa; ribbon line fillers in the same colors. Borders on every page, including those of the calendar, of a narrow gold and color strip running the length of the text in the outer margin and flourished on 3 sides in bracket form with black ink vines of gold trilobe leaves and blue and pink star-flowers; some leaves contain traced grotesque dragons emerging from either end of the gold and color strip: ff. 25r-v, 29r-v, 56r-v, 63r-v. Figures in the outer borders of ff. 32 (a man with a lute), 40 (a grotesque), 48 (a man reading, holding a sword), 56 (a man with a man-faced shield), 64 (a grotesque), 111 (a half-human grotesque). Where 3- or 2-line initials occur on a recto, a leafy spray grows from the left of the initial into the margin (on the versos, the margin to the left of the initial already contains the bracket border). A bright green leafy spray in the space between text and ivy vine of certain conjugate leaves: 25r-v and 30r-v, 40r-v and 47r-v, 49r-v, 54r-v, 58r-v and 61r-v. Rubrics in an orange-tinged red. Bound, s. XVIIex, in French brown morocco with later labels on the spine: “Missale Romanum. MSS. In Membrana”; gilt edges. Written in France in the early fifteenth century; at a later date, perhaps in the seventeenth century when the book was bound in its present form, an effort was made to complete the by-then missing sections at the beginning of the Penitential psalms and of the Office of the dead, by partially erasing (some of the original initials were left untouched) and re-writing respectively the opening leaves of the Hours of the Cross and of the Holy Spirit. Belonged to E. Dwight Church (1835-1908) and is described in his Catalogue…of English Literature (1909) vol. 1, n. 407 with a plate of f. 43v. The Church collection was acquired by Henry E. Huntington in 1911. Bibliography: De Ricci, 97.
France, s. XVin
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.