Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, Sarum use1. ff. 1-6v: Calendar in blue, red and black, including Edward martyr (18 March), Richard of Chichester (3 April), Translation of Edmund archbishop (9 June, in red), Translation of Richard of Chichester (16 June), Translation of Edward martyr (20 June), Etheldreda (23 June), Translation of Thomas of Canterbury (7 July, in red), Anne (26 July, in red), Cuthburga (31 August), Edith (16 September), Translation of Edward confessor (13 October, in red), Edmund archbishop (16 November), Hugh (17 November, in red), Edmund king (20) November), Thomas of Canterbury (29 December, in blue). 2. ff. 7-42: Hours of the Virgin, use of Sarum with the hours of the Cross worked in; suffrages after lauds of the Holy Spirit, the Trinity, the Cross, Michael, John the Baptist, John the Evangelist, Peter and Paul, Andrew, Lawrence, Stephen, Thomas of Canterbury (erased), Nicholas, Catherine of Alexandria, Margaret, All Saints; after compline are the Salve Regina and the prayer, Omnipotens sempiterne deus qui gloriose virginis…; f. 42v, ruled, but blank. 3. ff. 43-62v: Penitential psalms, gradual psalms (the first 10 by cue only), and litany including Swithun, Birinus, Sotheris, Afra and Edith; ff. 63-64, ruled, but blank. 4. ff. 65-103: Office of the Dead, Sarum use, with variations for the liturgical year; f. 103v, ruled, but blank. 5. ff. 104-119: Commendation of souls (Pss. 118, divided into sections, and 138), and the prayer, Tibi domine commendamus animas…; f. 119v, ruled, but blank. 6. ff. 120-137v: Psalter of St. Jerome, with the heading and the opening prayer, Suscipere dignare domine deus omnipotens hos psalmos consecratos…; f. 122, Verba mea auribus percipe…; ending prayer, Liberator animarum mundi redemptor… 7. ff. 138-142v: //baris spinis coronaberis arundine…O Ihesu vitis vera et fecunda // [the 15 O’s of St. Bridget, beginning and ending defectively in the first and last prayer; HE, 76-80]. Parchment, ff. iii (modern paper) + iv (parchment) + 142 + iv (parchment) + vii (modern paper); 110 × 82 (63 × 38) mm. 16 2-58 64(through f. 42) 7-88 96(through f. 64) 10-188 1910(? ff. 137-142, one leaf missing before f. 138, stitching between ff. 140-141, at least one leaf missing after f. 142). Catchwords in lower right margin, sometimes on a scroll. 19 long lines through f. 42, thereafter 18 long lines, ruled in pale red ink with upper and lower 2 lines full across. Written in a gothic book hand, with hierarchy of size denoting different liturgical functions. Four miniatures, 13- or 12-line, enclosed by painted illusionistic frames in orange, blue or pink decorated with clusters of 3 white dots; the frame on f. 65 consists of alternating orange and green ribbons twined around a blue rod. Outer borders of narrow gold and colored bars, lush multicolored acanthus leaves, and some black ink spray extensions with gold dots and green tendrils. Three of the miniatures are attributed to followers of Herman Scheerre (ff. 43, 65, and 104); the last miniature, f. 122, is attributed to Scheerre himself by C. Kuhn, “Herman Scheerre and English Illumination of the early Fifteenth Century,” Art Bulletin 22 (1940) 138-56, especially p. 149 and fig. 11 of f. 122. The miniatures are: f. 43 (Penitential psalms), the Last Judgment with Christ sitting on a rainbow showing his wounds, and the heads of 4 dead visible in their graves (similar composition in the Bedford Psalter, London, Brit. Lib., Add. 42131, f. 37); f. 65 (Office of the Dead), a burial service with hooded mourners in black holding candles, and 3 priests (a more elaborate composition in the Hours of Elizabeth the Queen, London, Brit. Lib., Add. 50001, reproduced in Illustrations from One Hundred Manuscripts in the Library of Henry Yates Thompson, London 1914, vol. 4, pl. 67 of f. 55b); f. 104 (Commendation of souls), God the Father holds 3 naked souls in a sheet against a background of angels in vermilion camaïeu (see London, Brit. Lib., Add. 16998, f. 44); f. 122 (Psalter of St. Jerome), Jerome in his study. The individual hours of the Virgin are introduced by the same style of acanthus leaf borders as above, and by 7-line shaded initials in colors with infilling of lush acanthus leaf and ground of another color; 3- and 2-line initials in gold on a colored ground, infilled with an acanthus leaf, and with black ink spray extension. 1-line initials, gold with purple flourishing or blue with red; jigsaw line fillers in blue and gold. On ff. 138-142, by a different illuminator, only 2-line initials in gold on white-patterned blue or dusky pink ground, infilled with the other color and with small sprays. Rubrics throughout. Bound in modern polished blue calf with 4 parchment tabs at the head. Written in England and dated ca. 1405 by C. Kuhn (see above) on the basis of style. In the lower margin of f. 1 are the initials “I.G.” in a late sixteenth or early seventeenth century hand. Acquired by Dr. Eric G. Millar (1887-1966) from James Thorp in London, 1934; his notes, ff. i-ii, and on file; his sale, Sotheby’s, 15 June 1959 lot 190 with a plate of all 4 miniatures. Acquired by the Huntington Library at that time. Bibliography: Burlington Fine Arts Club Exhibition of British Medieval Art, May-July 1939, n. 14; f. 122 exhibited. E. Panofsky, Early Netherlandish Painting (Cambridge, Mass. 1953) pp. 116, 403, footnote. Eric G. Millar, “Fresh Materials for the Study of English Illumination,” Studies in Art and Literature for Belle Da Costa Greene, edited by D. Miner (Princeton 1954) 286-94, especially p. 294, and fig. 252 which reproduces all 4 miniatures. D. H. Turner, “List of the Medieval and Renaissance Manuscripts owned by Eric Millar,” British Museum Quarterly 33 (1968-69) 9-16, this manuscript n. 50. Aspects of Medieval England, n. 36; f. 122 exhibited and as frontispiece of the catalogue. Chronica, 2. H. Friedman, A Bestiary for Saint Jerome (Smithsonian Institution 1980) p. 39 fig. 13 of f. 122. Scott, Later Gothic Manuscripts (forthcoming).
England, 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.
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