Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, use of Rome1. ff. 1-6v: Calendar with major feasts in blue or red. 2. ff. 7-15v: Pericopes of the Gospels, that of John followed by the prayer, Protector in te sperantium…[Perdrizet, 25]; passion according to John, with the prayer, Deus qui manus tuas… 3. ff. 16-52v [rubric on f. 15v]: Offcium beatissime virginis Marie secundum usum Romane ecclesie feliciter incipit; weekly variations of the psalms at matins set into the text before the lessons; suffrages to All Saints from lauds to compline; Advent office begins on f. 48v. 4. ff. 53-54v: Short hours of the Cross. 5. ff. 55-56v: Short hours of the Holy Spirit. 6. ff. 57-67v: Penitential psalms and litany, including Martialis as the last apostle, and Lubin. 7. ff. 67v-89v: Office of the Dead, use of Rome; Salutatio animarum quarum corpora in cymiterio requiescunt, Avete omnes anime fideles…with versicle, response and the prayer, Domine ihesu christe salus et liberatio…[Leroquais, LH, 2:341]. 8. ff. 90-92: Short hours of the Conception. 9. ff. 92v-103 [rubric on f. 92]: De sanctissima trinitate, Sancta trinitas unus deus…, oratio, Omnipotens sempiterne deus qui dedisti famulis tuis…, Oratio ad patrem, Pater de celis deus miserere nobis. Domine sancte pater omnipotens eterne deus qui coequalem…, Oratio ad filium, Fili redemptor mundi deus miserere nobis. Domine iesu christe fili dei vivi qui es verus…, Oratio ad spiritum sanctum, Spiritus sancte deus miserere nobis. Domine spiritus sancte deus qui coequalis…; Oratio valde devota ad beatissimam virginem Mariam, Obsecro te…[masculine forms; Leroquais, LH 2:346]; Alia oratio, O Intemerata…orbis terrarum. Inclina mater misericordie…[Wilmart, 488-90]; Devota contemplatio beate marie virginis iuxta crucem filii sui lachrymantis et ad compassionem salvatoris singulos invitantis, Stabat mater dolorosa…[RH 19416] with versicle, response, and prayer, Interveniat pro nobis quesumus domine Iesu christe nunc et in hora mortis nostre…; suffrages of Michael, John the Baptist, John the Evangelist, Peter and Paul, James the Greater, Stephen, Lawrence, Sebastian, Nicholas, Anne, Mary Magdalene, Catherine of Alexandria, Margaret, Barbara; ff. 103v-107v and the pastedown, ruled, but blank. Parchment, ff. i (contemporary parchment) + 107; 214 × 135 (133 × 69) mm. 16 2-38 46 5-138 144 154(4 is pastedown). Quires and leaves signed with a letter of the alphabet and an arabic numeral on the inner lower corner of the recto. 24 long lines, ruled in pale red ink; pricking visible in the upper and lower margins. Written in a roman script of the type associated with the work of Geoffroy Tory in Bourges. Sixteen large miniatures, usually above 7 lines of text, by 2 artists, of which the more competent has been identified as the Master of Claude of France; see Ch. Sterling, The Master of Claude, Queen of France (New York 1975).1 His work appears in Oxford, Keble College MS 43 in conjunction with that of a less capable artist, whose style is not dissimilar from that of the second artist in HM 48. This artist has been identified as the Master of Morgan 85; see Plummer, Last Flowering, nn. 108, 109, 1182. The miniatures are usually set into painted gold architectural frames which have been given relief by shredded purple or green shadows; on the leaves with the 3 smaller evangelists’ portraits and on the leaves facing the large miniatures, full borders of Renaissance ornament. On ff. 11, 15v and 67v, full borders of naturalistic flowers and insects against a gold ground. The large miniatures are: f. 7 (Gospel of John), above 5 lines of text, by the Master of Claude of France, John on Patmos (see Parkes, Keble College, MS 43, f. 13); f. 10v (Passion according to John), by the Master of Claude of France, Betrayal of Jesus (see R. Limousin, Jean Bourdichon, Lyons 1954, fig. 86, reproducing The Hague, Koninklijke Bibliotheek, MS 74 G 28, f. 21); f. 16 (Hours of the Virgin), above 4 lines of text, by the Master of Claude of France, Annunciation (with some similarities of composition to Delaissé, Marrow and de Wit, Waddesdon Manor, MS 23, f. 26, reproduced as fig. 21); f. 26 (Lauds), by the Master of Claude of France, Visitation; f. 32v (Prime), by the Master of Claude of France, Nativity; f. 35 (Terce), by the Master of Claude of France, Annunciation to the shepherds, half length; f. 37v (Sext), by the Master of Claude of France, Adoration of the Magi; f. 40 (None), by the Master of Claude of France, Presentation in the temple, half length (see Parkes, Keble College, MS 43, f. 49, for the face of Joseph); f. 42 (Vespers), by the Master of Claude of France, Flight into Egypt; f. 46 (Compline), this and all following miniatures by the second artist, Coronation of the Virgin by the Father and the Son with the Dove between them (see Parkes, Keble College, MS 43, f. 66 for the faces); f. 53 (Hours of the Cross), Crucifixion, with the 2 thieves, and Mary, Mary Magdalene and John on Christ’s right, the soldiers on his left; f. 55 (Hours of the Holy Spirit), Pentecost; f. 57 (Penitential psalms), Susanna and the Elders; f. 68 (Office of the Dead), Job on the dunghill; f. 90 (Hours of the Conception), Anne and Joachim before the Golden Gate; f. 92v (prayer to the Trinity), the 3 Persons as identical figures of a bearded young man. Twenty-three smaller miniatures, usually 8-line, all by the second artist, in squared painted gold frames: f. 8, Luke; f. 9, Matthew; f. 10, 9-line, Mark; f. 93 (prayer to the Trinity), 6-line, God the Father wearing a tiara and holding a globe (see Delaissé, Marrow and de Wit, Waddesdon Manor, MS 23, f. 199v, reproduced as fig. 28); f. 93v (prayer to the Trinity), 7-line, the Son, as a young man holding a globe; f. 93v (prayer to the Trinity), 7-line, the Holy Spirit, as the same young-man figure as above, but with wings (see Delaissé, Marrow and de Wit, Waddesdon Manor, MS 23, f. 167, reproduced as fig. 29); f. 94 (Obsecro te), 7-line, Pietà; f. 95v (O Intemerata), 6-line, the Virgin nursing her Child; f. 97 (Stabat mater), 7-line, the Virgin and John beside an empty cross; f. 98, Michael; f. 98v, John the Baptist pointing to the Agnus Dei (see Delaissé, Marrow and de Wit, Waddesdon Manor, MS 23, f. 178, reproduced as fig. 27); f. 98v, 7-line, John the Evangelist holding the poisoned chalice; f. 99, 7-line, Peter and Paul; f. 99v, James the Greater; f. 99v, Stephen; f. 100, 7-line, Lawrence; f. 100v, Sebastian tied to a tree (see Delaissé, Marrow and de Wit, Waddesdon Manor, MS 23, f. 183, reproduced as fig. 30); f. 101, Nicholas; f. 101, Anne teaching Mary to read; f. 101v, Mary Magdalene; f. 102, Catherine of Alexandria; f. 102v, 7-line, Margaret; f. 102v, 7-line, Barbara. 3-, 2- and 1-line initials in painted gold on square grounds of blue, brick-red, or yellow-green; ribbon line fillers in the same colors. Rubrics alternating red and blue. Bound in worn burgundy-colored velvet over wooden boards; gauffered gilt edges; kept in a red morocco box. Written in France, possibly Tours, although the calendar and litany appear quite general, in the early sixteenth century. It has been suggested that the manuscript belonged to the Duchess of Namur on the basis of what was interpreted as a coat of arms in a roundel on f. 16: a ruby proper, in a lozenge or, surrounded by 4 pearls proper. However, this may simply be an ornamental Renaissance jewel, as is frequently found in Italian manuscripts of the time, and as may be seen almost exactly in Delaissé, Marrow and de Wit, Waddesdon Manor, MS 20, ff. 95 and 99v, reproduced as figs. 13 and 25 respectively. Belonged to Herschel V. Jones of Minneapolis (1861-1928), and was obtained from him in February 1918 by Henry E. Huntington. Bibliography: De Ricci, 45. R. S. Wieck, Late Medieval and Renaissance Illuminated Manuscripts 1350-1525 in the Houghton Library (Cambridge, Mass. 1983) 44.
France, s. XVIin
1 We thank Mme Nicole Reynaud for this identification and for the following reference to Keble College MS 43.
2 We are grateful to Dr. J. Plummer 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.
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