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BOOK OF HOURS, use of Rome, in Latin and French, ILLUMINATED MANUSCRIPT ON VELLUM
BOOK OF HOURS, use of Rome, in Latin and French, ILLUMINATED MANUSCRIPT ON VELLUM [northern France, c.1500]170 x 115mm. ii + 112 + ii leaves: 1 9(of 8 + i), 2-6 8, 7 6, 9 4, 10 7(of 8 lacking i), 11 4, 12 2, 13-17 8, 24 lines written in brown ink in a lettre bâtarde between two verticals and 25 horizontals ruled in pink, justification: 101 x 68mm, rubrics in pink, text capitals touched yellow, one- and two-line initials and line-endings in liquid gold on grounds alternately of red and blue, three- and four-line initials with staves of scrolled stems in white and grey on grounds of liquid gold with flower or fruit infills, NUMEROUS BORDERS IN THE OUTER MARGIN of flower and fruit sprays and acanthus scrolls on divided grounds of colours and liquid gold, accompanying all two-line initials, THIRTEEN FULL BORDERS of similar type with the addition of birds, beasts and drolleries, FIVE FULL-PAGE MINIATURES IN RENAISSANCE ARCHITECTURAL FRAMES (lacking one miniature leaf and possibly one gathering with calendar, top of architectural frames trimmed, slight wear to miniature frames and a few borders). Panelled tan morocco stamped in brown, spine in six compartments, title gilt, by Rivière and Sons. PROVENANCE: 1. The book was probably illuminated in Paris in a style found in locally produced books and in some manuscripts written in Rouen. It may have been written in either centre of book production: the unusual sequence of prayers ff.102-106v is also found in a manuscript Hours from Paris (Baltimore, Walters Art Gallery, W228) and one possibly from Rouen (Paris, BnF, ms lat.18020) and in late 15th-century printed books of hours for Paris and Rouen use (see L. Randall, Medieval and Renaissance Manuscripts in the Walters Art Gallery, II, France 1420-1540 , 1992, cat.193). Like the printed Horae, this manuscript was probably made for the open market; prayers are in the masculine. 2. Bound by Rivière for the Boston booksellers and publishers Charles E. Lauriat and Co. CONTENT: Gospel extracts ff.2-11: St John f.2, St Luke f.2v, St Matthew f.3v, St Mark f.4v, Passion according to St John, followed by prayers, f.5; Obsecro te ff.11-13; O intemerata ff.13v-15v; prayers to the Virgin, opening Ave cuius concepcio , ff.15v-17; Avete omnes fideles to be said when passing a cemetery, as instructed in the French rubruc at the end, f.17-17v; Office of the Virgin, use of Rome, ff.19-55v: matins f.19, lauds f.26, prime f.31v, terce f.33v, sext f.35v, none f.37, vespers f.39, compline f.43, seasonal variants f.50; Hours of the Cross ff.57-58; Hours of the Holy Spirit, omitting sext and lacking compline,ff.59-59v; Penitential Psalms ff.60-67; Litany ff.67-72; Office of the Dead, use of Rome, ff.74-91; Memorials ff.92-112: the Trinity, Father, Son and Holy Spirit f.92, the Holy Face f.93, Stabat mater f.93v, Sts Michael f.95, Peter and Paul f.95v, James f.96, all Apostles f.96, Stephen f.96v, Lawrence f.96v, Christopher f.97, Sebastian f,97v, Denis f.98, Nicholas f.98v, Claud f.98v, Anthony f.99v, Anne f.99v, Mary Magdalen, f.100, Katherine f.100v, Margaret f.100v, Barbara f.101, Apollonia f.101v, prayers necessaires a dire to Christ on waking, at various points during the mass, against tempest, for the king, against temptation etc f.102; Seven prayers of St Gregory with indulgence Domine ihesu christe adoro te in cruce pendentem f.106v; Litany of the Virgin, preceded by French rubric recounting how Mary communicated it to a priest called Arnold, with the assurance that those who recite it on a Saturday will see the Virgin five times f.107v. ILLUMINATION: The richly coloured miniatures share many stylistic traits with those of the Master of Petrarch's Triumphs, named from a copy of the French translation made in Rouen and presented to Louis XII in the early years of the 16th century (Paris, BnF, ms fr.594). Despite his Rouen connections, the Master frequently worked with the Parisian Jean Pichore and so was probably also based in the capital in the