- 48
Prayerbook, in Latin and Spanish, illuminated manuscript on vellum [Spain (perhaps Seville), c.1530 (after 1521)]
Description
- Vellum
Provenance
2. Josephine Dockar Drysdale of Wick Hall, Radley, Berks., Roman Catholic convert: her late nineteenth-century bookplate.
Catalogue Note
This manuscript contains memorial prayers to Christ (fol.2r), for the day of Resurrection (fol.4r), Ascension (fol.5v), Pentecost (fol.7r), to St. Sebastian (fol.8r), to the Virgin (fol.9r), for Sunday Procession, first station (“In processionibus dominicalibus, In prima statione”; fol.11v), second station (fol.14r), third station (fol.16v), to St. Sebastian again (fol.19r), fourth station (fol.23r), “Quando dicitur Anniversarium” (fol.25v), “Quando se dize missa de prima por los reyes” (fol.29r), “Quando se dize missa de Cofradia” (fol.32v), “En la capilla del Jesu a la columna se diga la oracion siguiente” (fol. 36v); prayers for the Dead, “por los Reyes en el altar major” (fol.38v), second station “en la puerta del choro por los Infantes” (fol.40r), third station “en el choro por los Arcobispos” (fol.42r), fourth station “en saliendo del choro” (fol.43r), fifth station “en la nave de nuestra senora del antigua” (fol.45v), sixth station “en la nave de nostra senora de los Remedios” (fol.46v), seventh station “en la nave de sant Sevastian” (fol.48v), eighth station “en el cruzero” (fol.50r), ninth station “A la puerta del choro” (fol.52r), and a prayer for the souls of “Julio II et Leone X” (fol.53r).
script and illumination
In the sixteenth century, Spanish scribes raised their art up to new heights, developing a distinctive Iberian monumental script of great simplicity, written on a vast scale (the ascenders here up to 12mm. high, allowing only six lines per page). To compliment this, Spanish illuminators looked to mainland European art, and embraced the achievements of the Italian and Flemish Renaissance. Motifs such as the columns, dolphins, vases, masks, putti and the satyr refer to re-discovered Antiquity, while the realistically observed flowers and strawberries scattered on gold grounds, enlivened with butterflies, peacocks and a snail, draw on the models of the Ghent-Bruges school.