Guide To Medieval and Renaissance Manuscripts in the Huntington Library


HM 1180

View all images for this manuscript

BOOK OF HOURS
France, s. XV4/4
1. ff. 3-27 [f. 3, ruled, but blank]: Hours of the Passion; 5 lessons at matins; weekly variations of the psalms set into the text for each hour; from lauds to compline a suffrage for each of the 7 Joys of the Virgin; after lauds, suffrages of Catherine of Alexandria, John the Evangelist, and Peter and Paul; after none, a suffrage “de annunciatione dominica.” 2. ff. 27v-30v: Passion according to John. 3. ff. 31-40v [f. 31, ruled, but blank]: Hours of the Compassion of the Virgin. 4. ff. 41-44 [f. 41, ruled, but blank]: Prayers to the Holy Spirit as follow: Secuuntur orationes de sancto spiritu, O Sancte Spiritus creator et vivificator omnium qui in principio…; Alia oratio, O Sancte spiritus qui es amator sensorum cogitacionum…; O Sancte spiritus qui es fons vivus et purificator omnium…; de sancto spiritu oratio, O Sancte spiritus qui lugentibus et merentibus apostolis missus es consolator…; oratio, O Sancte spiritus vivificator omnium quia fecundas aquas et vivificas animas…; O Sancte spiritus qui aspirando das homines esse spirituales…; Oratio, Sancti spiritus gracia domine deus omnipotens queso…; Alia oratio, O Sancte optime ceterorum magister qui per tuum magisterium…; O Sancte spiritus qui digitus dei dixeris…; O Sancte spiritus qui gracia dei dixeris…; O Sancte spiritus qui ideo in specie columbe venisse ostenderis…; O Sancte spiritus qui ideo ignis appellaris…; O Sancte spiritus qui deus proprie nuncuparis…; Alia, Omnipotens sempiterne deus clemenciam tuam devota mente suppliciter exoro…; oratio, Omnipotens sempiterne deus qui nimie unigeniti tui misisti…; Item alia de sancto spiritu, O gracia ineffabilis caritas inseparabilis…; Oratio, Veni sancte spiritus doctor amabilis omnium fidelium… 5. ff. 44v-55: Long hours of the Holy Spirit, beginning with the verses, Unctio doctorem det quem devotus adorem…, Isti versiculi dicuntur ante qualibet [sic] horam. 6. ff. 55-58v: Prayers to Jesus as follow: Oratio ad dominum nostrum ihesum christum, Ihesu dulcis memoria ihesu dulce solacium ihesu tuta fiducia…; Ihesus salutis hostia salutis sacrificium ihesu salutis gracia…; Alia oratio, Ihesu largitor venie ihesu solamen tristium ihesu laus penitencie…; Oratio, Ihesu lux et rex glorie fili dei et hominis ihesu flos pudicitie…; Alia oratio, Ihesu nostra redemptio ihesu redemptor omnium ihesu nostra dilectio…; Oratio, Ihesu patris unigenitus virtus et sapiencia…; Alia, Ihesu via rectissima ihesu salutis ostium ihesu porta tutissima…; Item alia oratio, Transfige domine dulcissime ihesu christe vere deus amoris medullos anime mee…; Alia, Domine ihesu christe fili dei vivi in honore tuarum sanctissimarum orationum…; oratio, Ihesu nostra redemptio amor et desiderium… 7. ff. 59-68 [ff. 59-60, blank]: Hours of the Holy Name of Jesus, with the rubric, f. 58v, Incipit iubilus cum iubilo beati bernardi de ihesu. Ad omnes horas diei; in long hours form; see A. Wilmart, Le ‘Jubilus’ dit de St. Bernard (Rome 1944). 8. ff. 68-73v: Incipiunt orationes devote beati bernardi abbatis ad ihesum christum dominum nostrum, Ihesu fili dei vivi qui ex voluntate patris cooperante spiritu sancto…; oratio, Ihesu dulcis qui de ancilla humili tu humilis humiliter natus…; Alia ad eiusdem [sic], Ihesu clemens qui de virgine natus circumcidi sub lege voluisti…; oratio, Ihesu bone qui de virgine natus te ipsum magis stella duce revelasti…; Oratio, Ihesu desiderabilis qui in templo presentatur visto symeoni…; Ihesu mitissime qui de virgine natus in partibus egypti secessisti…; Alia ad eundem, Ihesu clementissime qui per manus beati iohannis baptiste baptizari voluisti…; Oratio, Ihesu bone qui ductus in deserto a spiritu…; oratio, Ihesu clemens qui deprehensam in adulterio clementer ab accusatoribus liberasti…; Ihesu spes penitencium qui ree peccatrici stanti retro secus pedes tuos…; Alia oratio, Ihesu benignissime qui marthe et marie fide et precibus quatriduarum lazarum iam fetentem a sepulchro…; oratio, Ihesu benignissime qui pro credentibus et crediturus [sic] in te ante tempus passionis patrem suppliciter exorasti…; oratio, Ihesu clementissime qui nimia ductus caritate et misericordia.…; Oratio, Ihesus mitis vere paciencie forma et humilitatis exemplum…; Alia oratio ad eundem, Ihesu misericors qui pendens in cruce venerabilem matrem et virginem…; Oratio, Ihesu bone cruci affixus ab eadem descendere voluisti…; oratio, Ihesu vera clemencia qui positus in sepulchro a visu hominum…; oratio, Verum has inter hec o anima in ea deponamus piisimas tristicie querelas…; Alia ad eundem dominum, Ihesu nostra redemptio amor et desiderium qui devotis mulieribus te querentibus…; oratio, Ihesu corona celsior qui resurgens a mortuis…; oratio, Ihesu largitor donorum omnium qui super apostolos tuos…; Tua sunt omnia hec ihesu bone hee sunt misericordie tue antique domine…; Deprecor te domine ihesu christe pro omnibus illis pro quibus decrevi orare… 9. ff. 73v-79: Incipiunt orationes de passione domini quas composuit beatus bernardus abbas, Dulcissime domine ihesu christe qui pro miseris peccatoribus dignatus es descendere de celo…; Alia oratio, Dulcissime ihesu per vocationem et longam ac triplicem orationem post agoniam…; oratio, Dulcis ihesu postea ductus fuisti ad caypham…; Alia oratio, Dulcis ihesu postea ductus fuisti ad consilium factum mane…; oratio, Dulcis ihesu quo ductum condamnatum et ligatum preduxerunt…; Dulcis ihesu tunc herodes remisit te ad pilatum…; oratio, Dulcis ihesu per istam postposicionem qua dignatus est…; Oratio, Dulcis ihesu postea pilatus ducit te foras ad iudeos dicens…; Dulcis ihesu iterum pilatus te reduceris ad pretorium querit unde es tu…; Alia oratio Ad eundem, Dulcis ihesu ex inde querebat te pylatus omnino dimittere…; Dulcis ihesu cum ergo ducerent te extra civitatem ad crucem…; Dulcis ihesu postea eiecerunt te extra civitatem et imposuerunt humeris ferre crucem tuam…; Dulcis ihesu per illam crucis baiulacionem fac me dignam tanto honore…; Oratio, Dulcis ihesu ducis ad locum passionis ubi rei pro suis sceleribus torquebantur…; Quis dabit capiti meo aquam et oculis meis fontem lacrimarum ut defleam vulnera anime mee. Conversi sunt dies festi mei in luctum et cantica in lamentacionibus…; Item Alia Oratio, Culter que circumcidisti sacrosanctam carnem christi resera nocencia ihesum ioseph ut est scriptum. Tollens fugit in egyptum…; Oratio Ad christum, Rogo te domine ihesu christe per illa salutifera vulnera cum quibus passus es… 10. ff. 79-86v: Prayers as follow: Ad deum patrem Oratio, Ad te domine lacrimabili ingemisco ad te domine de magna necessitate…; ad deum filium oratio, Domine ihesu christe fili dei vivi creator et resuscitator generis humani…; Ad spiritum sanctum Oratio, Temeritatis quidam est apud me o spiritus alme ut ego infelix et peccator…; Ad christum oratio, Verbum secretum habeo ad te rex seculorum misericordia et refugium…Psalterium ad deum patrem, Letifica domine peccatricem animam meam et concede michi ob amorem tue beatitudinis consiliare…with kyrie eleison and prayer, Domine sancte pater omnipotens eterne deus qui coeternum et substancialem tibi ante secula…[HE, 124]; Psalterium ad deum filium, Miserere mei deus secundum magnam misericordiam tuam…with kyrie eleison and prayer, Domine ihesu christe fili dei vivi verus et omnipotens deus…[HE, 124]; Psalterium ad spiritum sanctum, Propicius esto omnibus iniquitatibus nostris et sacia in bonis desiderium meum…with kyrie eleison and prayer, Domine sancte spiritus omnipotens deus qui cum patre filioque semper existans…[HE, 124-25]. 11. ff. 86v-89v: Sequitur psalterium beati iheronimi, Verba mea auribus percipe…[HE, 116-22]; ff. 90-92v, ruled, but blank. Parchment with hair follicles apparent, ff. 92 (+ f. 43 bis; the pastedowns, the first 2 and the last 3 leaves ruled, but blank); 200 × 140 (132 × 80) mm. Collation beginning at f. 3, including f. 43 bis and ending at f. 89: 18 28(-4, before f. 14) 38(-2, before f. 19; this leaf now Baltimore, Walters Art Gallery, W. 781a1) 48 58(-2, before f. 34; this leaf now Baltimore, Walters Art Gallery, W.781b) 6-78 88(+5 and 6, ff. 59, blank, and 60, blank on the recto) 98 108(+1 at the beginning, f. 73) 118. Some catchwords remain, although partially erased, in the inner margin of ff. 32v and 46v. A quire and leaf signature on f. 43 “m iiii” may indicate that the book once contained an additional 5 or 6 quires at the beginning. 31 long lines, ruled in pale red ink; some pricking uncropped. Written in a gothic book hand of 2 sizes according to liturgical function. Sixteen full page miniatures in arched compartments with serrated tops, enclosed by U-shaped frames, with the decorated outer and lower bars wider than the inner strip; border usually of blue and gold acanthus leaves, multicolored flowers, strawberries, insects, birds and grotesques or figures; miniatures frequently framed by columns and arches duplicating the shape of the arched compartments. Several of the miniatures derive directly from contemporary engravings, as indicated below; many have been retouched to lighten the dark skin tones and to repair flaking: f. 3v (Hours of the Passion), Entry into Jerusalem; f. 7v (Lauds), Last Supper; f. 11v (Prime), Christ washing the disciples’ feet; illumination for terce missing before f. 14; f. 16v (Sext), Betrayal in the garden at night, with Peter holding the sword in one hand and grasping Malchus’ arm with the other; U-shaped frame around the miniature formed of logs; illumination for none missing before f. 19 and now in the Walters Art Gallery: Christ before Caiaphas; f. 21v (Vespers), Christ before Pilate, based on the print by the Master with the Banderoles, reproduced in A. I. Lockhart, “Four Engravings by the Master with the Banderoles,” Bulletin of the Cleveland Museum of Art 60 (1973) p. 248 fig. 1; in HM 1180, but not in the print, the initial “S” on the tunic front of one of the soldiers; f. 24v (Compline), Mocking of Christ, with 2 tormentors pressing the crown of thorns down on his head with large sticks; the initial “G” on the tunic front of one of the tormentors; U-shaped frame around the miniature formed of logs; f. 27v (Passion according to John), Flagellation; f. 31v (Hours of the Compassion), Christ on the road to Calvary, with a spike block hung from his waist; frame around the miniature formed of logs; the miniature based on the print by the Master with the Banderoles, reproduced in Lockhart, p. 249 fig. 4; illumination for lauds missing before f. 34 and now in the Walters Art Gallery: the Disrobing of Christ, based on the print by the Master of the Berlin Passion, Lehrs n. 28, pl. 94 fig. 244; f. 35v (Prime), Nailing to the Cross; f. 36v (Terce), Crucifixion, between the 2 thieves, with Mary, John and others on Christ’s right and the soldiers on his left; f. 37v (Sext), Deposition from the Cross; f. 38v (None), Entombment, set beneath an open-sided grey masonry vault; frame around the miniature formed of logs; f. 39v (Vespers), the Harrowing of Hell, based on the print by the Master with the Banderoles, Lehrs n. 38 reproduced in F. W. H. Hollstein, Dutch and Flemish Etchings, Engravings and Woodcuts, ca. 1450-1700 (Amsterdam 1949-81) vol. 12, under the Lehrs number; f. 41v (Compline), Resurrection set beneath the same grey gothic vault as on f. 38v; in the place of the usual U-shaped frame, a border of painted gold ground decorated with colored flowers and leaves and with black ink commas and dots; the miniature based on the print by the Master with the Banderoles, Lehrs n. 39, pl. 114 fig. 336; in HM 1180, but not in the print, the initial “L” on the tunic front of one of the soldiers; f. 44v (Hours of the Holy Spirit), Pentecost; in place of the usual U-shaped frame, a compartmentalized border; the miniature based on the print by the Master E. S., Lehrs n. 35, pl. 83 fig. 217; f. 60v (Hours of the Holy Name of Jesus), 4 angels support the IHS monogram in glory; possibly by a different artist; in a rectangular frame with the IHS monogram throughout the border. Full borders of similar style on the leaves facing the miniatures and on ff. 14, 19, 34 (to face the missing miniatures); the borders on ff. 40, 42, 45 are geometric with many figures; those on ff. 48, 49, 50, 51 (compartmentalized), 52, 53 (painted gold ground), 54 do not face illuminations but are triggered by the presence of 9-line initials; those on ff. 61, 62, 63, 64r-v, 65v, 66, 67, also with 9-line initials, decorated with the IHS monogram. 9-line initials in white-patterned pink or blue on burnished gold ground with colored trilobe leaf infilling; 2- and 1-line initials in gold on blue or pink with infilling of the other color; initials within the text touched in yellow. Rubrics in red. Bound, s. XVII, in coarse grained black morocco over bevelled wooden boards; evidence of 2 fore edge straps closing to pins on edge of lower cover; gilt edges. Written in France during the fourth quarter of the fifteenth century. HM 1180 may be only the second half of the book, since it lacks many usual texts of a book of hours: calendar, hours of the Virgin, office of the dead, penitential psalms and litany. Robson Catalogue 94 (London, ca. 1900) n. 11 with a plate of f. 16v. Belonged to Herschel V. Jones (1861-1928) of Minneapolis; his sale, Anderson, New York, 29 January 1919, pt. II, n. 907 to G. D. Smith. Precise source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 104.
Notes
1 We are grateful to Prof. James Marrow for this information and for the following identification of compositional sources of some miniatures in contemporary prints; we thank Dr. Lilian Randall for her kind assistance.

Abbreviations
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)
Lehrs
M. Lehrs, Geschichte und kritischer Katalog des deutschen, niederländischen und französischen Kupferstichs im XV. Jahrhundert (Vienna 1908-34)

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.