Book of Hours, Use of Rome, in Latin, illuminated manuscript on vellum

provenance

The property of Saint Dominic’s Convent, Stone, Staffordshire, with their bookplate.  The manuscript was presented to the convent in January 1895 by Philip Howard (1853-1934), of Corby Castle, Cumberland, and Foxcote, Warwickshire, doubtless at the instigation of his first cousin, Sister Isabella Howard (1832-1905), daughter of Sir Henry Howard, who had entered the convent in 1861.  The note on the flyleaf is in her hand, recollecting that the book was still complete in 1860.  The Howards are probably the most famous English Catholic family, numbering several saints among their members.

text

The Gospel Sequences (fol.1r); the Obsecro te (fol.3r), for male use, and the O intemerata; the Hours of the Virgin [Use of Rome], with Matins (fol.6r), Lauds (fol.11r), Prime (fol.14v), Terce (fol.17r), Sext (fol.18r), None (fol.20r), Vespers (fol.21r) and Compline (fol.23v), with the seasonal variants (fol.26r) and Advent Office; the Hours of the Cross (fol.32r) and of the Holy Ghost (fol.33v); the Litany (fol.35r, Penitential Psalms all lacking); the Office of the Dead (fol.37r); and the Suffrages (fol.49v).

illumination

Even in its incomplete state, this is a Book of Hours of quite exceptional richness, frequently (at least originally) with double openings for the offices and, even more remarkably, separate illustrations for every psalm throughout.  Pictures for each psalm occur in the Très Riches Heures of the Duc de Berry, about 80 years earlier, but we know of nothing comparable from the 1490s.  There are two quite different artists in the present book.  The most traditional is the Master of Jacques de Besançon, who emerged from the workshop of Maître François in Paris and became the leading illuminator of the French court in the last decade of the century.  He painted the miniatures of the Crucifixion and Pentecost here (fols.32r and 33v).  They are pictures of utter professionalism and delicacy of finish.  For other closely comparable Books of Hours, cf. N. Reynaud in Avril and Reynaud, Les manuscrits à peintures en France, 1440-1520, p.259, no.138.  In many ways, however, the principal artist here is more unusual.  The general style comes from Tours, including the technique of camaïeu d’or, which was characteristic of the circle of Jean Fouquet.  The use of half-length figures, such as those on fols.5v-6r and 14v, derive from Jean Bourdichon, and indeed the composition of the Nativity echoes that of the corresponding miniature from Bourdichon’s Hours of Louis XII, of c.1489-99, now  Victoria and Albert Museum no.E..949-2003 (cf. T. Kren, M. Evans and J. Backhouse, A Masterpiece Reconstructed, The Hours of Louis XII, 2005, pl.II).  However, the artist must have been working in Paris.  Probably he is the Master of Robert Gaguin, who perhaps trained with Jean Colombe in Bourges, as suggested by Madame Reynaud, op. cit., p.262, in which case he may have seen the psalm illustrations of the Très Riches Heures when it was temporarily in Colombe’s workshop.  In Paris he clearly joined the Master of Jacques de Besançon, with whom he collaborated in several other manuscripts and illuminated incunables, such as BnF, Rés. Vélins 357, printed by Vérard in 1494 and painted for Charles d’Orléans, comte d’Angoulême (ibid, pp,262-4, nos.141-2).

The large or full-page miniatures here are:

1. Folio 5v, The Marriage of the Virgin, full-page, in an arched compartment 133mm. by 75mm., mostly in brown camaïeu d’or, the high priest in the centre dressed as a bishop joining the hands of the Virgin and Joseph, who holds the miraculous flowering branch; set in a classical temple with a large crowd of people standing behind; within full border, 164mm. by 110mm., including a snail and a human-headed grotesque emerging from a snail shell.

2. Folio 6r, The Annunciation, 112mm. by 73mm., the Virgin seated with a book on her lap, Gabriel beside her, God in the sky sending down the Holy Dove and a naked Child holding the Cross, set in the courtyard of a classical building with a glimpse of a landscape; above a large initial and 6 lines of text; within a full border, 167mm. by 111mm., including a snail, a house fly and two acrobatic apes tumbling with grotesque animals.

3. Folio 10v, The Harrowing of Hell, 92mm. by 77mm., in purple and brown camaïeu d’or, the mouth of a huge fire-breathing monster opening up to allow the escape of a king and other naked men in prayer, watched by two wild-eyed demons; below 7 lines of text, intended to face the (lost) opening page of Laud; within a full border 170mm. by 110mm., including four grotesques.

4. Folio 14v, The Nativity of Christ, 108mm. by 77mm., the Virgin in prayer before the Child who lies in a manger attended by four angels, Joseph leaning on his staff, set below a thatched canopy in a night sky; above a large initial and 6 lines of text; within a full border, 160mm. by 108mm., including a bird.

5. Folio 18r, The Adoration of the Magi, 113mm. by 71mm., the eldest king in prayer before the Virgin who holds the Child on her lap with one hand and a box of gold coins with the other, as the two younger kings and many retainers stand behind; above a large initial and 6 lines of text; within a full border, 167mm. by 105mm., on a parti-coloured ground of brown and liquid gold formed of compartments of half fleurs-de-lys.

6. Folio 20r, The Presentation in the Temple, 115mm. by 72mm., the white-bearded priest holding the Child who looks back at his mother, a maid behind with a basket of doves, other figures crowding in the background; above a large initial and 6 lines of text; full border, 165mm. by 107mm., including a bird.

7. Folio 21v, The Assumption of the Virgin, 113mm. by 70mm., the Virgin in prayer rising through the clouds below, four angel musicians at her feet, bands of cherubim and seraphim around her head, including one placing a crown on her head; above a large initial and 6 lines of text; within a full border, 164mm. by 105mm.

8. Folio 32r, The Crucifixion, 104mm. by 68mm., the two thieves crucified on either side of Christ, the Virgin and Saint John standing on the left, the centurion and his soldiers on the right, starry sky with the sun and the moon; above a large initial and 7 lines of text; within a full border, 160mm. by 106mm., including a bird, a pig and two grotesques.

9. Folio 33v, Pentecost, 104mm. by 69mm., the Virgin kneeling at a prie-dieu below a canopy on the left, the apostles before her on the right as tongues of fire descend from above; above a large initial and 7 lines of text; within a full border, 162mm. by 107mm., including three grotesques.

10. Folio 37r, The pit of Hell, 110mm. by 73mm., a mountain of fire with naked souls (including a priest) calling out in agony, angels above plucking three souls from the flames; above a large initial and 6 lines of text; within a full border, 163mm. by 105mm.

The small miniatures are:

1. Folio 1r, Saint John on Patmos, 35mm. by 34mm., half-length, the evangelist peering at his pen, head of the eagle before him, seascape behind; a snarling grotesque in the border.

2. Folio 1v, Saint Luke with his ox, 34mm. by 34mm., in brown camaïeu d’or, the evangelist writing a scroll on his lap; a snarling grotesque in the border.

3. Folio 2r, Saint Matthew with his angel, 35mm. by 33mm., the evangelist writing a scroll with an angel with folded arms beside him.

4. Folio 2v, Saint Mark with his lion, 34mm. by 34mm., in purple camaïeu d’or, the evangelist sharpening his pen.

5. Folio 3r, The Virgin and Child, 36mm. by 34mm., the Virgin crowned with the Child on her lap; a bird in the border.

6. Folio 4v, The Pietà, 35mm. by 35mm., the Virgin supporting the Body of Christ, attended by Saints John and Mary Magdalene; a butterfly and a human-headed grotesque in the border.

7. Folio 7r, The Virgin standing among three sainted bishops and a cardinal, 35mm. by 37mm., illustrating the hymn Quem terra Pontus.

8. Folio 7r, King David in prayer with God blessing him from the sky, 31mm. by 37mm., in red camaïeu d’or, illustrating Psalm 8, Domine deus noster.

9. Folio 7v, King David pointing to the stars in heaven, two bearded men in prayer, 35mm. by 34mm., illustrating Psalm 18, Celi enarrant.

10. Folio 8v, King David in prayer as a child climbs a hill, 35mm. by 33mm., in brown camaïeu d’or, illustrating Psalm 23, Domini est terra, in which verse 3 is ‘Quis ascendet in montem domini …”.

11. Folio 9v, Saints Ambrose and Augustine in prayer below the Trinity in Heaven, 35mm. by 33mm., illustrating the canticle Te deum, which they wrote together.

12. Folio 11v, King David in prayer on a hillside, with God blessing him from the sky, 37mm. by 34mm., illustrating Psalm 148, Laudate dominum de celis; a grumpy grotesque in the border.

13. Folio 12r, Souls emerging in prayer from the mouth of Hell, similar to fol.10v, 36mm. by 35mm., illustrating Psalm 149, Cantate domino; a large bird in the border.

14. Folio 12v, King David in prayer with two saints in Heaven, God above, 35mm. by 36mm., illustrating Psalm 150, Laudate dominum in sanctis eius; a large bird in the border.

15. Folio 13r, Zacharias holding his baby son, John the Baptist, attended by two bearded men in prayer, 35mm. by 35mm., illustrating the canticle Benedictus dominus (Luke 1:68-79); a winged grotesque in the border.

16. Folio 15r, King David in a landscape, pleading with God who holds the sword of justice, 35mm. by 34mm., illustrating Psalm 53, Deus in nomine tuo, in which verse 1 ends “in virtute tua iudica me”; a howling grotesque in the border.

17. Folio 15r, Jacob watching an angel descending a ladder from Heaven, 24mm. by 31mm., illustrating Psalm 84, Benedixisti domine, in which verse 1 refers to the captivity of Jacob.

18. Folio 15v, Three men praising God, 28mm. by 29mm., illustrating Psalm 150, Laudate dominum omnes gentes; a howling grotesque in the border.

19. Folio 17r, King David ascending the steps of the Temple, 35mm. by 33mm., illustrating Psalm 121, Letatus sum, in which verse 1 ends, “in domum domini ibimus”.

20. Folio 18v, King David in a landscape lifting his eyes to God, 35mm. by 35mm., illustrating Psalm 122, Ad te levavi oculos meos.

21. Folio 18v, King David in a landscape praying to God, 34mm. by 36mm., illustrating Psalm 123, Nisi quia dominus.

22. Folio 19r, King David on a hillside placing his trust in God, 35mm. by 35mm., illustrating Psalm 124, Qui confidunt in domino.

23. Folio 20v, King David beating his chest and weeping in a landscape, 35mm. by 35mm., illustrating Psalm 125, In convertendo, in which verse 6 begins “Euntes ibant et flebant …”.

24. Folio 21v, Three men on the walls of a city praising God above, 35mm. by 33mm., illustrating Psalm 147, Lauda iherusalem; a bird in the border.

25. Folio 22v, The Visitation, the Virgin greeting Saint Elizabeth outside her house, 38mm. by 35mm., illustrating the Magnificat (Luke 1:46-55).

26. Folio 24r, King David being attacked by two men, 38mm. by 31mm., illustrating Psalm 128, Sepe expugnaverunt me; a grotesque in the border.

27. Folio 24v, King David praying to God from among the rocks and crags in a landscape, 35mm. by 35mm., illustrating Psalm 130, Domine non est exaltum; a grotesque in the border.

28. Folio 25r, Simeon receiving the Child in the Temple, 35mm. by 32mm., illustrating the canticle Nunc dimittis (Luke 2: 29-32).

29. Folio 28v, The descendants of Jesse in conversation, 35mm. by 33mm., in brown camaïeu d’or, illustrating the reading “Egredietur virga de radice iesse…” (Isaiah 11:1).

30. Folio 38v, King David watching a murderer stab a man, 37mm. by 35mm., illustrating Psalm 5, Verba mea auribus, in which verse 5 refers to the workers of iniquity; a long-necked dragon in the border emerging from a shell.

31. Folio 39v, King David at the head of his army, praying to God, 36mm. by 35mm., illustrating Psalm 7, Domine deus meus in te speravi; a grotesque bird in the border.

32. Folio 41, King David praying to God in a landscape, 34mm. by 32mm., illustrating Psalm 24, Ad te domine levavi animam meam.

33. Folio 41v, Christ touching King David’s eyes, 28mm. by 31mm., illustrating Psalm 26, Dominus illuminatio mea.

34. Folio 43v, King David praying to God in a landscape, 35mm. by 36mm., illustrating Psalm 39, Expectans expectavi.

35. Folio 44v, King David giving money to a beggar, 35mm. by 33mm., illustrating Psalm 40, Beatus qui intelligit, ‘Blessed is he that considereth the poor’.

36. Folio 46v, King David praying to God, 28mm. by 30mm., illustrating Psalm 64, Te decet hymnus.

37. Folio 48v, The Trinity enthroned, 37mm. by 35mm., illustrating the opening of the Suffrages.