Guide To Medieval and Renaissance Manuscripts in the Huntington Library


HM 48048

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ANTIPHONAL
Italy, s. XVII
1. f. 1v: Title page, Antiphonarium de tempore et sanctis, followed by a rayed circle inscribed “Ave Maria,” probably s. XX. 2. ff. 2-74: Temporale from the first Sunday after Easter until Advent. 3. ff. 74v-177v: Sanctorale from Anthony of Padua (13 June) to Clement (23 November), including the feasts of Clare, Francis and Didacus. 4. ff. 177v-178: Table of contents, s. XVIII, with reference to foliation, added at the same time, ending: Finis huius operis quem P. Regulus a vurno huius Almę Provincię Tuscię ex obediença sui superioris restaurabat anno domini 1719. Si tibi hoc opus placet deo gratias age et si tibi non placet deo gratias age, vade et ora pro scriptore; followed by a rayed circle containing the YHS monogram, probably s. XX. Parchment; according to the eighteenth century foliation used in this description, ff. 178, but missing ff. 23, 65, 89, 94, 112, 130, 136-158, 162-163 and 167, so that the actual number of leaves present is 146; 530 × 388 (430 × 292) mm. 18(+1, 10, 11) 212(-12) 3-412 512(+ a leaf in the first half) 614(-6) 714 812(-2, 7) 912 1012(-1) 1112(-7) two quires (?) missing here 12 (3 bifolia remain; the center bifolium, ff. 162-163, is missing) 1310; many “bifolia” are actually attached singletons. The only leaf written entirely in prose, f. 112v, has 15 long lines ruled in ink with added lines to define space for the minims. Usually in 5 lines of text and music, the text in a round gothic book hand, the music on red 4-line staves. Twenty-seven historiated initials or border designs added in the late nineteenth or early twentieth century, of which eleven are partially or completely based on compositions of Girolamo da Cremona and Liberale da Verona in Sienese choir books; see M. G. Ciardi Dupré, I Corali del Duomo di Siena (Siena 1972); most are signed “David [?] Gray Apl. 7/23”; the subject is frequently inappropriate to the feast and the letter has occasionally been rendered incorrectly. The initials are: f. 1v, “Ave Maria” in a rayed circle; f. 6v, 2 putti placing a collar on a stag (Ciardi Dupré, pl. 176); f. 9v, Christ triumphant (Ciardi Dupré, pl. 214); f. 18v, Michael Archangel, with Renaissance ornament in the lower margin (Ciardi Dupré, pl. 87); f. 24v, the 3 Kings, one with a halo, who kisses the Baby Jesus’ foot (Ciardi Dupré, pl. 185); f. 27, a young Renaissance gentleman with halo, sword and palm leaf, and ornament in the lower margin; f. 28, an elegant young saint riding on a white horse and holding the standard of Christ; in the lower margin, a haloed figure with a palm leaf; f. 32v, Virgin and Child; f. 40v, David in penitence in a landscape (Ciardi Dupré, pl. 239); f. 41, Jesus walking in a landscape (Ciardi Dupré, pl. 262); f. 47, 2 angles in prayer; f. 52v, Christ triumphant (Ciardi Dupré, pl. 220); f. 66, 3 shields, based on Sienese models, in the lower margin: gules, a griffin rampant argent; red flourishes on a shield per fess argent and sable; azure, bentwise “Libertas” or; f. 67v, Crucifixion with Mary and Mary Magdalene, and Renaissance ornament in the outer margin; f. 74v, busts of a young angel and of Jesus (?); f. 75, a young gentleman with halo and standard; f. 75, Jesus, his finger touching the mute man’s mouth (Ciardi Dupré, pl. 266); f. 79v, a bishop and a young angel; f. 80, a praying angel; f. 84v, George in armor with Renaissance ornament in the border; f. 92v, angels playing musical instruments and Peter, with Renaisance ornament in the outer margin; f. 104v, the Good Shepherd and a bishop; f. 113, a monstrance (Ciardi Dupré, pl. 105), and the Veronica; f. 119v, a young armored saint on a prancing white horse, holding the standard; on the initial, the same 3 coats of arms as on f. 66; f. 120, bust of an angel; f. 124, Silvester baptizing Constantine (Ciardi Dupré, pl. 105); f. 127v, an allegorical representation of a Wind (Ciardi Dupré, pls. 242, 243). Initials contemporary to the text, usually red, but towards the end of the book alternating red and blue; both colors on ff. 8v, 12v, 134v. Initials within the text as cadels, sometimes with sketched faces or washed in yellow. Rubrics throughout. Bound, s. XVIII, in wooden boards with large bosses and studs on all sides and along spine; rebacked; cracks in the wood repaired with small brass plates on the inside. Thumb holes cut along the lower edge of each leaf; book marks of yellow silk and red braid hang from a wire attached to the top of the spine. Leaves from another antiphonal used as flyleaves (foliated as ff. 1 and 178, now scraped and written over) and as pastedowns (the front pastedown, once present as shown by offset on front cover, now missing; the back pastedown now lifted) from a book very similar to the present one. Two stoles and a strip of silk formerly loose in the volume; on a large, carved, pseudo-gothic lectern. Written for use in a Franciscan house, after the canonization of Didacus in 1588. In 1719 P. Regulus added the table of contents and identified himself as being from “Vurno,” probably the town of Vorno in the province of Lucca, which would have fallen under the jurisdiction of the Franciscan province of Tuscany. Date and source of acquisition by the Huntington Library unknown.
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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