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  • Sequentiary

    Sequentiale

    French
    Medieval (Gothic)
    late 14th century

    Place of Manufacture: France

    Description

    A sequentiary (a book containing sequences, a class of hymns in rythmical prose), with 118 folios (ff.) and 2 leaves:

    (Description of contents lists folio range, followed by the name of the Feast, and the accompanying Sequence in parentheses. )

    ff. 1 - 3: Nativity (Laetabundus exultet fidelis)
    ff. 3 - 5: St. John the Evangelist (Flore vernat virginali [Analecta Hymnica 55:217])
    ff. 5 - 6: Easter (Victime paschali laudes [AH 54:12])
    ff. 6 - 9v: Ascension (Omnes gentes plaudite [AH 54:232])
    ff. 9v - 13: Pentecost (Sancti spiritus assit nobit [AH 53:119])
    ff. 13 - 14v: In crastino Pent. (Veni sancta spiritus est emitte caelitus [AH 54:234])
    ff. 15 - 18: Trinity Sunday (Profitentes unitatem veneremur [AH 54:249])
    ff. 18 - 22v: Altar dedication (Lauda syon salvatorem lauda ducema [AH 50:584])
    ff. 22v - 25: St. John the Baptist (Profitentes veritatem impendamus [AH 40:215])
    ff. 25v - 27: St. John the Baptist (Letabundus baptiste decantet chorus a te)
    ff. 27 - 29: Sts. Peter and Paul (Colletetur fideles concio [AH 40:271])
    ff. 29 - 30v: St. Mary Magdalene (Mariae preconio celebris eximio orbis exultatio)
    ff. 30v - 32v: St. Louis (Regem regum veneremur [AH 55:255])
    ff. 32v - 34: St. Maurice (O beata legio cum quanto [AH 40:255])
    ff. 34 - 35v: 11,000 Virgins (Excitetur omnium nostrum [AH 10:319])
    ff. 35v - 37v: St. Katharine (Gaude prole grecia [AH 40:229])
    ff. 38 - 41: Dedication of the Church (Rex salomon fecit templum [AH 55:35])
    ff. 41 - 44: All Saints Day (Superne matris gaudia [AH 55:45])
    ff. 44 - 46v: St. Peter Martyr (Adest dies celebris [AH 55: 325])
    ff. 46v - 48v: St. Dominic (In caelesti ierarchia nova [AH 55:133])
    ff. 48v - 50: Angelorum (Felix per quem gaudia)
    ff. 50 - 53: St. Augustine (De profundis tenebrarum [AH: 55:91])
    ff. 53 - 56: Easter season (Ave maria gratia plena…qui peperisti [AH 54:337])
    ff. 56 - 58v: Assumption (Salve mater salvatoris vas electum [AH 54:383])
    ff. 58v - 61: Nativity of the Virgin (Nativitas beatae mariae virginis [AH 54:288])
    ff. 61 - 62v: Commemoration of the Virgin (Verbum bonum et suave [AH 54:343])
    ff. 62v - 63: Christmas - Purification, Matins (Laetabundus…)
    ff. 63 - 66: Easter season, Matins (Virgini mariae laudes concinant christiani [AH 54:31])
    ff. 66 - 68v: Easter (Hodierna lux diei celebris [AH 10:41])
    ff. 69 - 72: Easter (Jubilemus in haec die quam reginae caeli [AH 54:430])
    ff. 72 - 74: Easter (Tibi cor cordis in altari [AH 54:422])
    ff. 74 - 76v: Easter (Stella maris o Maria expers paris pares [AH 54:429])
    ff. 76v - 78v: Easter (Ave virgo virginum ave lumen [AH 54:433])
    ff. 78v - 80: Easter (Mater patris nati nata [AH 54:426])
    ff. 80 - 82v: Easter (Salve sancta Christi parens [AH 54:427])
    ff. 82v - 85: Easter (Ave virgo gratiosa virgo mater [AH 54:419])
    ff. 85 - 88: Easter (Ave virgo gloriosa caeli [AH 54:417])
    ff. 88 - 90: Easter (Salvatoris mater pia mundi huius [AH 54:424])
    ff. 90 - 91v: Easter (Mariae praeconio serviat cum gaudio [AH 54:391])
    ff. 91v - 94v: Archangel Michael (Laus erumpat ex affectu [AH 55:288])
    ff. 94v - 98: St. John the Evangelist (Laetabundus huius anni Christi germano)
    ff. 98 - 102: St. John the Baptist (Praecursorem summi Regis [AH 55:202])
    ff. 102 - 105: Sts. Peter and Paul (Jubar mundo geminatur dies festus)
    ff. 105 - 107: St. Mary Magdalene (Monti syon dat virorem ros hermon [AH:8:175])
    ff. 107v - 112v: Invention of the Cross (Laudes crucis attollamus nos qui crucis [AH 54:188])
    ff. 112v - 113v: Annunciation (Benedicta es caelorum regina et mundi [AH 54:396])
    ff. 113v - 116v: St. Paul (Corde voce pulsa caelos [AH 55:308])
    ff. 116v - 117v: [De nominibus domini] (Alma chorus domini nunc [AH 53:152])
    ff. 118 - 118v: [undetermined] (Praetus [sic] rerum seriem parit deum [AH 20:73])

    1 column of 6 staves per page. Text is in Latin. Written in a Gothic bookhand in brown ink. Rubrics in red Gothic bookhand. Sequences begin with one-staff-high initials alternating gold with blue filigree and blue with red filigree. Verse initials begin with 1-line initials alternating gold with blue and blue with red.

    Bounding lines in brown plummet, full-length top to bottom and upper outer margin, writing lines in brown plummet, prickings in lower and upper margins, for bounding lines only. Square heightened stemmatic notation on a red four-line staff, c-clef indicated.

    Most signatures trimmed, but are visible in the lower right corner of the first half of several quires, using letters “d,” “f,” “g,” and “h” for quires 8 and 10-12, respectively. Catchwords in Gothic cursive, lower right of last verso of most quires (some trimmed). Modern arabic pencil foliation.

    Written at the royal Dominican convent of St. Louis de Poissy (founded 1304), evidenced by the contents, in particular by the inclusion of the sequence “Regem regum veneremur” for the Feast of St. Louis (f. 33v).

    Inscription

    18th-century cursive signature on f. i: "S[oeurs] Marie et Catherine De Tiercelin Brosses." Nineteenth-century notation: "Livre d'heures des XIV siecle [ ] at sale of library of M. Cottarcue Dec. 16/87 Paris."

    Provenance

    18th century, in collection of Sisters Marie et Catherine De Tiercelin Brosses [see note 1]; by 1880, John Joseph May; 1880, gift of John Joseph May. (Accession date: April 14, 1880) NOTES: [1] See inscription on f. 1.

    Credit Line

    Gift of John Joseph May

    Details

    Dimensions

    Overall (page dimensions): 15.6 x 11 cm (6 1/8 x 4 5/16 in.)

    Accession Number

    80.504

    Medium or Technique

    Tempera, ink, pencil (modern), and gold on parchment; bindings of calfskin over pasteboards with gilding

    Not On View

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    Europe

    Classifications

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  • Book of Hours (Hours of the Virgin, Use of Rome)

    Italian
    Medieval (Gothic)
    about 1400–50

    Place of Manufacture: Italy

    Description

    Book of Hours with 105 folios (ff.), containing the Hours of the Virgin. (The manuscript is misbound, lacking several folios, and is not foliated. The list of contents below is by quire, with the original order of the contents following.)

    The current contents comprise the following:
    Quire 1, ff. 1-10: Hours of the Virgin: Matins, Inv. Psalm (94)
    Quire 2, ff. 11-20: Hours of the Virgin: Laudes, and Canticle: Trium puerorum
    Quire 3, f. 21 (singleton): Part of Penitential Psalm #4 (Miserere mei deus)
    Quire 4, ff. 22-31: Hours of the Virgin (cont.): Laudes
    Quire 5, ff. 32-41: Penitential Psalms #5 (Domine exaudi orationem) - #7 Litany
    Quire 6, ff. 42-51: Litany, Anima Christi
    Quire 7, ff. 52-57: Penitential Psalms #2 - #4 (lacking first and second bifolia; final leaf is f. 21, or current quire 3)
    Quire 8, ff. 58-65: Hours of the Virgin: Nones and Vespers (lacking fourth bifolium)
    Quire 9, ff. 66-75: Hours of the Virgin: Prime, Terce, Sext (lacking outermost bifolium)
    Quire 10, ff. 76-79: Hours of the Virgin: Vespers and Compline (lacking three innermost bifolia)
    Quire 11, ff. 80-83: Hours of the Virgin: Seasonal instructions, for the little hours
    Quires 12-14, ff. 84-105: Hours of the Virgin: Seasonal instructions for matins

    The original contents of this manuscript comprised the following:
    Original ff. 1 - 54 (current ff. 1-20, 22-31, 66-75, 58-65, 76-79, 84-105, 80-83)
    Hours of the Virgin (lacking at least one quire before f. 1)
    Original ff. 1-10: Matins
    Original ff. 11-30: Lauds
    Original ff. 31-41: Little Hours (lacking one folio before ff. 31, 39, and 42)
    Original ff. 42-48: Vespers (lacking one folio before f. 44)
    Original ff. 49-50: Compline (lacking six folios before f. 49)
    Original ff. 51-54: Seasonal instructions for Little Hours (lacking six folios before origin. f. 53 and 2 ff. before f. 55)
    Original ff. 55- 81 (current ff. 52-57, 21, 32-51): Penitential Psalms, Litany, additional prayers (lacking one before f. 61)
    Original ff. 82-105: Seasonal instructions, Matins, Hours of the Virgin (possibly lacking at least one quire before f. 82)

    1 column of 12 text lines per page. Text is in Latin. Bounding lines as single plummet, full-length to top and bottom edges. Catchwords in center lower margin, minimally decorated. No pagination or foliation.

    Written in an Italian Gothic script in black ink with red rubrics. Psalms, lections, and prayers with 2-line initials alternating gold with blue and blue with red filigree extending throughout left margin and into upper and lower margins. Single-line intials throughout alternating gold with blue and blue with red. This manuscript is apparently lacking all miniatures. Miniatures, if any, were removed early and manuscript was rebound out of order.

    Binding: Original orange silk brocade over wooden boards, with 3 split tawed-leather bands in shallow channels. Endbands lacking. Spine lost, bands broken, quires detached. Lacking upper clasp, lower clasp partically intact.

    Provenance

    By 1895, Denman W. Ross (1853-1935), Cambridge, MA; 1895, gift of Denman W. Ross. (Accession date: June 28, 1895)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 13.5 x 9.4 cm (5 5/16 x 3 11/16 in.)

    Accession Number

    95.1346

    Medium or Technique

    Tempera, ink, and gold on parchment; bindings of orange silk brocade over wooden boards, with leather bands and metal clasps

    Not On View

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    Europe

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  • Bible

    French (Paris)
    Medieval (Gothic)
    late 13th century

    Place of Manufacture: Paris, France

    Description

    Bible with 591 folios (ff) and 4 leaves:

    ff. 1 - 575: Bible, Old and New Testaments, with the common set of prologues (as in Ker, I: 96-97)
    Desiderii mei desiderata…/…gratia domini nostri Iesu Christi cum omnibus.
    Pentateuch (Stegmüller 285); Joshua (Steg. 311); Judges; Ruth; Kings I-IV (Steg. 323); I Chron. (Steg. 328 ); II Chron. (Steg. 327); Ezra (Steg. 330); Nehemiah; “II Ezra” [= III Ezra]; Tobias (Steg. 332); Judith (Steg. 335); Esther (Steg. 341); Job (Steg. 344); Psalms; Proverbs (Steg. 457); Ecclesiastes (Steg. 462); Cantica Canticorum; Sapientia (Steg. 468); Ecclesiasticus (“Multorum nobis et magnorum,” biblical introduction to Ecclesiasticus, treated as a prologue); Isaiah (Steg. 482); Jeremiah (Steg. 487); Lamentations; Baruch (Steg. 491); Ezechiel (Steg. 492); Daniel (Steg. 494); Minor Prophets (Steg. 500); Hosea (Steg. 507); Joel (Steg. 511); Amos (Steg. 515, 512, 513); Obadiah (Steg. 519 ); Jonah (Steg. 524, 521); Micah (Steg. 526); Nahum (Steg. 528); Habbacuc (Steg. 531); Zephaniah (Steg. 534); Haggai (Steg. 538); Zacharias (Steg. 539); Malachi (Steg. 543); Maccabees (Steg. 547, 533); II Macc.; Matthew (Steg. 590); Mark (Steg. 607); Luke (“Quoniam quidem multi conati” (Luke 1: 1-4, treated as a prologue), Steg. 620); John (Steg. 624); Romans (Steg. 676); I Cor. (Steg. 685); II Cor. (Steg. 700); Galatians (Steg. 707); Ephesians (Steg. 715); Phillipp. (Steg. 728); Collosians (Steg. 736); I Thess. (Steg. 747); II Thess. (Steg. 752); I Timothy (Steg. 765); II Timothy (Steg. 772); Titus (Steg. 780); Philemon (Steg. 783); Hebrews (Steg. 793); Acts (Steg. 637); Canonical epistles (Steg. 809); James; I Peter; II Peter, I John, II John, III John, Jude; Apocalypse (Steg. 839).

    ff. 576 - 591v: Jerome’s index to the Bible, A - E only.
    Aaz apprehendens…/Elchath porto [ ] vel portcula su[ ] porto… [ends imperfectly].

    2 columns of 47 lines of text per folio in Latin. Bounding lines in light black plummet, full-length top to bottom, writing lines light black plummet, crossing intercolumnar space and full-length across top line, prickings for bounding lines only.

    Too tightly bound to collate. Some catchwords extant (e.g. f. “207” verso), but mostly trimmed. Modern arabic pencil foliation skips ff. 2 and 236, so reaches “303” instead of “305”, after which every ten folios are numbered for some time.

    Written in a Gothic minuscule in brown ink, with red rubrics. Folio 1 verso: full-length “I” historiated with 7 days of creation, each showing Christ in benediction with symbol of the day, each in its own roundel in a framed panel alternating salmon and blue background with some silver. Books and first prologue begin with 5-line initials in gold and colors with scrolling infill or grotesques, with tails and ascenders into upper or lower margin, 83 in all. Psalms in liturgical division, with initials at Psalms 26, 38, 52, 68, 80, 97, and 109. Prologues begin with 3-line initials in colors, 60 in all. Chapter initials alternate 2-line initials in red with blue filigree or blue with red filigree into upper or lower margin. Psalm verses begin with 1-line initials alternating red and blue.

    Late 13th-century marginialia and corrections throughout.

    Inscription

    Eighteenth-century (?) signature (smudged and illegible) on f. "320." Dealer's description pasted inside front cover. MFA bookplate inside front cover, with gift inscription from Dr. Denman W. Ross.

    Provenance

    By 1900, Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1900, gift of Dr. Denman W. Ross. (Accession date: February 2, 1900)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 16.9 x 12.3 cm (6 5/8 x 4 13/16 in.)

    Accession Number

    00.17

    Medium or Technique

    Tempera, ink, pencil (modern), and gold on parchment; bindings of leather over boards with gilding

    Not On View

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    Europe

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  • Gradual for Monastic Use (Augustinian?)

    Italian (Florence)
    Medieval (Gothic)
    between 1303 and 1340
    Workshop of Pacino di Bonaguida (active 1303–1340)

    Place of Manufacture: Florence, Italy

    Description

    A gradual (a liturgical book, containing chants for the Mass) for monastic use, possibly the Augstinian order, with 174 folios (ff.) and 2 leaves:

    ff. 1 - 109: Gradual: Temporale and Sanctorale (partial)
    ff. 109v - 113: Litany
    ff. 114 - 160: Gradual: Temporale (continued)
    ff. 161 - 168: Temporale sequences
    (f. 168v: Originally blank, with a 15th-century addition in Italian on three staves: “Sanctus della domenica…”)
    ff. 169 - 174v: Credo (four repetitions of “Patrem omnipotentem,” each with a different melody)

    Each page with 1 column of 9 staves. Bounding lines in blind, doubled and full-length to top and bottom, writing lines in blind, top and bottom of line of writing ruled. Square heightened stemmatic neumes on a four-line red staff, c-clef indicated.

    Lacking outermost bifolium of last quire (one folio before f. 169 and one folio after f. 174). Catchwords lower center, last verso of each quire. Contemporary foliation in outer margin of each recto in epigraphic roman capitals alternating red and blue.

    Written in an Italian rotunda script in black ink with red rubrics. One- to two-staff-high initials in red and blue throughout with red spiralling foliate infill and blue filigree or vice versa, with contrasting blue or red berries. In-text initials one-line throughout alternating red with blue harping or vice versa.

    Seven 2- to 3-staff-high historiated initials painted in the workshop of Pacino di Bonaguida (active 1303-1340).

    Written and illuminated in Florence, illuminated at the workshop of Pacino di Bonaguida (active 1303-1340). Rubrics indicate monastic use (with references to “brothers” and “deacons”), while the litany includes “Augustinus Cenobi,” possibly indicating Augustinian use.

    Provenance

    1874, probably by descent from Gardner Brewer (b. 1806 - d. 1874), Boston, to his daughter, Caroline Abigail Brewer (Mrs. Arthur) Croft (d. 1898), Boston; 1901, bequest of Mrs. Arthur Croft to the MFA. (Accession Date: July 1, 1901)

    Credit Line

    Bequest of Mrs. Arthur Croft—The Gardner Brewer Collection

    Details

    Dimensions

    Overall (page dimensions): 35.7 x 26.2 cm (14 1/16 x 10 5/16 in.)

    Accession Number

    01.6454

    Medium or Technique

    Tempera and ink on parchment; bindings of calfskin over boards with metal clasps

    Not On View

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    Europe

    Classifications

    Books and manuscripts, Manuscripts

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  • Book of Hours (Possibly for Use of Péronne)

    French (Loire Valley, possibly Tours)
    Medieval (Gothic)
    about 1450–75

    Place of Manufacture: Loire Valley, possible Tours, France

    Description

    Book of Hours with 180 folios (ff.) and 11 leaves.

    ff. 1 - 12: Calendar
    ff. 13 - 19v: Gospel readings
    ff. 19v - 23v: Obsecro te (masculine usage)
    ff. 23v - 28: O intemerata
    f. 28v: [blank]
    ff. 29 - 92: Hours of the Virgin (use unidentified, possibly Péronne)
    (ff. 29 - 41v: Matins)
    (ff. 42 - 54v: Lauds)
    (ff. 55 - 61v: Prime)
    (ff. 62 - 66v: Terce)
    (ff. 67 - 71v: Sext)
    (ff. 72 - 76v: None)
    (ff. 77 - 85v: Vespers)
    (ff. 86 - 92v: Compline)
    ff. 93 - 101v: [Hours of the Cross]
    ff. 102 - 108v: Hours of the Holy Spirit
    ff. 109 - 130v: Penitential Psalms, litany, prayers
    ff. 131 - 167: Office of the Dead (one nocturn only, use indeterminable)
    ff. 167v - 173v: Les Quinze joyes notre dame [The Fifteen Joys of the Virgin, in French]
    ff. 173v - 177: Les sept requestes a notre seigneur [The Seven Requests of Our Lord, in French]
    ff. 177 - 178: Memoire des V. festes notre dame/ Ave cuius conceptio…/…et cum ipsa gaudere mereamur in celis. Per christum dominum nostrum Amen.
    ff. 178v - 180v: Les vers S. Bernard/ Illumina oculos meos…/…et a morte perpetua liberemur. Per eundem christum dominum nostrum. Amen.

    1 column of 15 text lines in Latin and French. Bounding lines in red plummet, full-length to all edges, writings lines in red plummet.

    Catchwords in lower right corner of last verso of each quire, mostly trimmed, in bâtarde script. No foliation.

    Written in a Gothic bookhand in black ink with red rubrics. 2- to 4-line initials throughout in blue with white filigree highlights with leafy vines in colors on gold background (KLs similar). One-line initials throughout alternating gold filled with red on blue background or gold filled with blue on red background, all with white filigree highlights. Seven ¾-borders of acanthus, flowers, and leaves in colors (for the Gospels of Luke, Matthew, and Mark, Obsecro te, O intemerata, the 15 Joys, and the Fifteen Requests).

    Thirteen ¾-page miniatures in arched-topped frame with alternating bar-shaped compartments at sides and bottom of dark red or blue with white filigree and gold squares, ¾ -border of acanthus, flowers, and leaves in colors, some on background of gold and white geometric compartments. Several of these images demonstrate a continuity of planning and theological intention; the four scenes that include the Holy Spirit (aside from the Annunciation) - the Nativity, the Visitation, the Adoration, and the Pentecost - show the Holy Spirit descending further into the scene with each appearance. The golden light is barely seen in the Visitation, becomes more prominent in the Nativity, the source is shown for the first time as an cruciform emblem in the Adoration, and finally in the Pentecost the Holy Spirit takes center stage as a fully formed radiant dove. In addition, the interior church scenes (the Annunciation, the Presentation, and the Pentecost) are not identical settings as they are in many manuscripts, but appear to be three different areas in the same church. Distinctive features include tight fingers, pale faces, cylindrical buildings with conical roofs, and occasional gold-scroll style interiors of gold filigree on a dark red background (see Notes field for descriptions.)

    Binding: Nineteenth-century English binding of dark olive russian diced leather over boards, gilt fillets with corner blind and gilt floral stamps. Spine gilt in compartments. By C. Lewis (London), according to dealer’s description pasted into inner lower cover, but binding not signed or stamped. Gilt board edges, book block edges gilt and impressed with cross-hatch pattern with floral stamp in each square. Vellum pastedowns and endleaves (two at front and two at back), gilt fillet turn-ins.

    Produced in the Loire Valley, possibly Tours, in the third-quarter of the fifteenth century, for the use of a patron in or near Péronne (about 50 miles southeast of Amiens and northwest of Reims) - the calendar includes, in red, the feast of St. Furseus of Péronne (16 Jan.) and two translations (9 Feb. and 17 Sept.), as well as two octaves, an especial veneration of Furseus that would have been centered in or near his relics in Péronne. Furseus is also found in the litany, first among the confessors after the standard group. Also of note in the calendar are Remigius of Reims (13 Jan.), Hupertus (4 Nov., should be 3 Nov.), Fuscianus (11 Dec.), and Nicasius of Reims (14 Dec.). Saints of particular import in Amiens are also included in the calendar, such as Firminus (25 Sept.) and Wulfrannus (15 Oct., a date used particularly in and near Amiens). Armorial bookplate of Gardner Brewer (1806 - 1874) inner front, with motto “Memor et Fidelis.”

    Provenance

    Until 1874, Gardner Brewer (b. 1806 - d. 1874), Boston [see note 1]; by descent to his daughter, Caroline Abigail Brewer (Mrs. Arthur) Croft (d. 1898), Boston; 1901, bequest of Mrs. Arthur Croft to the MFA. (Accession Date: July 1, 1901) NOTES: [1] An armorial bookplate of Gardner Brewer, with the motto "Memor et Fidelis," is on the inner front.

    Credit Line

    Bequest of Mrs. Arthur Croft—The Gardner Brewer Collection

    Details

    Dimensions

    Overall (page dimensions): 18.2 x 13.5 cm (7 3/16 x 5 5/16 in.)

    Accession Number

    01.6751

    Medium or Technique

    Tempera and ink with gold on parchment; bindings of dark olive russian diced leather over boards with gilding

    Not On View

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    Europe

    Classifications

    Books and manuscripts, Manuscripts

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  • Book of Hours (Use of Bayeux)

    French (Rouen)
    Medieval (Gothic)
    about 1450–75

    Place of Manufacture: Rouen, France

    Description

    A Book of Hours with 123 folios:

    ff.1-12v: Calendar
    f.13: [blank] (tipped-in singleton)
    ff.14-19v: Gospel readings
    ff.19v-23: Obsecro te (masculine use)
    ff.23-24v: Saluto te piisima virgo
    ff.24v-27: Suffrages to St. James, Archangel Michael, St. Nicholas, St. Katharine, St. Barbara
    f.27v: [blank]
    ff.28-46v: Hours of the Virgin (use of Bayeux)
    (ff.28-37v: Matins)
    (ff.37v-46v: Lauds)
    ff.46v-47v: Hours of the Cross (intercalated and abbreviated)
    ff.48-48v: Hours of the Holy Spirit (intercalated and abbreviated)
    ff.49-71v: Hours of the Virgin, continued
    (ff.49-53: Prime)
    (ff.54-57: Terce)
    (ff.57v-60v: Sext)
    (ff.61-64: None)
    (ff.64v-67v: Vespers)
    (ff.68-71v: Compline)
    ff.71v-74v: Hours “de la conception” (with rubrics in French)
    ff.75-86: Penitential Psalms
    ff.87-90: Litany and prayers
    ff.91: [blank] (a tipped-in singleton)
    ff.92-123v: Office of the Dead (Use of Bayeux)

    Latin text (with some French in calendar). Each text page contains 1 column of 14 lines of text. Bounding lines light red plummet, full-length to all margins, writing lines light red plummet, prickings preserved in outer margin for writing lines, in lower margins for bounding lines.

    Vertical catchwords are in lower right corner of final verso of each quire, some in Gothic bookhand, others in bâtarde. Modern pencil arabic foliation in upper right corner of each recto.

    Written in a Gothic bookhand, with smaller module used for responsories, versicles and other prayers, in brown ink with red rubrics. One- to two-line initials throughout in gold on colors with white filigree highlights, line fillers salmon and blue with white filigree highlights. On folios 19v, 37v, and 71v, a ¾ border of scrolling foliage in gold and colors on white and gold geometric or banded background.

    Eleven ¾-page miniatures in an arched gold frame with jagged top edge and full border of scrolling foliage and flowers in gold and colors on white and gold geometric or banded background. (See Notes for descriptions of illuminations).

    Produced in Rouen for the use of Bayeux in the third quarter of the fifteenth century. The format of the miniature on folio 14, with all four evangelists in one image, is localizable to Rouen. The Hours of the Virgin and the Office of the Dead are use of Bayeux, and the calendar includes several Saints of especial import there: St. Ragnobertus, Bishop of Bayeux (16 May), St. Manueus, Bishop of Bayeux (5 June, should be 6 May), Feast of the Relics of Bayeux (in red, 1 July), Translation of St. Exuperius, Bishop of Bayeux (14 July), Translation of St. Vigoris, Bishop of Bayeux (14 July), Sts. Ravennus and Rasiphus (23 July), Translation of St. Ragnobertus (3 Sept.), St. Lupus, Bishop of Bayeux (25 Oct.), and St. Gereboldus, Bishop of Bayeux (3 Dec.). Sts. Ravennus and Rasiphus are also included in the litany, between Confessors St. Vincent and St. Fabian.

    Provenance

    By 1904, Mrs. Thomas A. Gaffield; 1904, given to the MFA by Mrs. Thomas A. Gaffield. (Accession date: January 12, 1904)

    Credit Line

    Gift of Mrs. Thomas A. Gaffield

    Details

    Dimensions

    Overall (page dimensions): 16.4 x 11.7 cm (6 7/16 x 4 5/8 in.)

    Accession Number

    04.1745

    Medium or Technique

    Tempera, ink, pencil (modern), and gold on parchment; bindings of calfskin over pasteboard with gilding

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  • Homilies of Saint Gregory on the Book of Ezekiel

    Homiliae in Ezechielem

    French
    Medieval (Gothic)
    mid-13th century
    Author of text Pope Gregory I (about 540–604)

    Place of Manufacture: Royaumont Abbey, possibly Royaumont Abbey, Northern France

    Description

    A manuscript transcribing Pope Gregory I’s commentaries on the Old Testament book of Ezekiel, in 117 folios:

    ff. 1 - 117: Homiliae in Ezechielem, I:1-12, II:1-10 (Patrologia Latina 76:785 - 795B)
    Pars prima ezechielis prophetae./Et factum est in tricesimo anno…/…per dolores innumeros hereditatem perpetuam erudit. Sit itaque gloria omnipotenti domino nostro ihesu christo qui vivat et regnat cum patre in unitate spiritus sancti deus per omnia secula seculorum. Amen. [ex libris, mid-13th century: Liber sancte marie regalis montes/ Iste liber de fuit de armaris domini regis]
    f. 117v: [blank]

    117 folios and 1 leaf with 2 columns of 44 lines of text per page. Bounding lines in black plummet, full-length to top and bottom, writings lines in black plummet, crossing intercolumnar space, prickings for bounding lines preserved in lower margin. 10 quires.

    Some catchwords preserved in lower right corner of last verso of each quire. “Cor”, for “correctus”, written in lower left margin of last verso of each quire, indicating that the quire had been collated and corrected. No pagination or foliation.

    Written in an early Gothic script in black ink, red rubrics. Seven-line opening initial in blue and red with red spiral infill and blue berries with blue and red filigree into margin. 2- to 3-line initials for each homily incipit in same color scheme. Single-line initials in-text alternating red and blue, sentence initials stroked red. Marginal corrections and comments by scribal hand in decorative blue and red frame.

    Inscription

    f. 117: Liber sancte marie regalis montes/ Iste liber de fuit de armaris domini regis

    Provenance

    Mid-thirteenth century, probably written at the royal Cistercian abbey of Royaumont for King Louis IX [see note 1]; 1791, documented at the Abbey of Royaumont [see note 2]; 1806, acquired by Charles Chardin (bookseller; b. 1742 - d. 1826), Paris [see note 3]; February 9 - March 22, 1824, Chardin sale, Debure Frères, Hôtel de Bullion, Paris, lot 223, sold to J.-P. Aillaud, probably for Sir Thomas Phillipps (b. 1792 - d. 1872), Cheltenham, England [see note 4]; June 10-17, 1896, posthumous Phillipps sale, Sotheby's, London, lot 117, to Quaritch, Ltd., London [see note 5]; probably sold by Quaritsch through Edward Waldo Forbes to Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1906, gift of Denman Waldo Ross to the MFA. (Accession Date: March 8, 1906) NOTES: [1] Two thirteenth-century inscriptions on f. 117 read: "Liber s[an]c[ta]e Mariae Regalis Montis," which can be found in other manuscripts originating at Royaumont; and "Iste liber de fuit de armario domini regis" ("This book is from the cabinet of the lord King"). [2] The abbey at Royaumont was dissolved in 1791. An inventory drawn up at that time lists the present manuscript under no. 44. See M. Huglo, "La dispersion des manuscrits de Royaumont," Revue Benedictine 113 (2003): pp. 379-380. [3] Huglo 2003 (as above, n. 2), pp. 370 and 390. In Chardin's catalogue of 1811, this was cat. no. 47. There is also a pencil notation inside front cover. [4] Huglo, p. 390. Phillipps lion rampant stamp on front flyleaf and notation "Phillipps Ms 766" on flyleaf verso. [5] Ross acquired other manuscript leaves from Quaritsch through Forbes.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 33.7 x 23 cm (13 1/4 x 9 1/16 in.) Other (writing space): 8.6 x 6.3 cm (3 3/8 x 2 1/2 in.) Other (intercolumnar space): 1 cm (3/8 in.)

    Accession Number

    06.138

    Medium or Technique

    Tempera and ink on parchment; bindings of calfskin over boards, with leather bands

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  • Processional (Use of Dominican Nuns)

    North German (Medingen?)
    Medieval (Gothic)
    mid-15th century

    Place of Manufacture: Medingen?, Germany

    Description

    Processional for use by the Dominican order, with 82 folios (ff.) and 2 leaves:

    f. 1 - 1v: Originally blank, mid-15th century inscription added slightly later, “Pro sorore DK”
    f. 1v: Originally blank, mid-15th century inscription, “Das puch gehort in das closter zu medingen prediger ordens”
    ff. 2 - 80: Processional
    (ff. 2 - 12: Palm Sunday)
    (ff. 12 - 36v: Maundy Thursday (with antiphons “ad altare” for altars of the Virgin Mary, St. Mary Magdalene, St. Nicholas, St. Augustine, and the Cross))
    (ff. 36v - 39: Good Friday)
    (ff. 39 - 42: Easter)
    (ff. 42 - 46: Ascension)
    (ff. 46 - 50v: Corpus Christi)
    (ff. 50v - 55: Dedication of the Church)
    (ff. 55 - 60v: Purification)
    (ff. 60v - 66: Assumption)
    (ff. 66 - 69: Reception of Legates or Prelates)
    (ff. 69 - 71v: Reception of Secular Princes)
    (ff. 71v - 73: “Per totam ebdomadam”)
    (ff. 73 - 76: “Die 3 im 5 vor dem altar”)
    (ff. 76 - 80: “Commonem processionem pro necessaria ecclesiae”)
    f. 80v: [blank]

    Each page contains 1 column with 5 staves or 17 lines of text in Latin (with some German). Bounding lines in black ink, double-fillet, full-length to top and bottom, writing lines in black ink for top and bottom of each text line, prickings preserved for bounding and writing lines. Square stemmatic notation on a four-line red staff, c-clef indicated.

    (ff. 43 and 48 are tipped-in singletons). Correction slip tipped-in between ff. 64 and 65. Quires signed in first half only as “a i” - “a iv”… “h i” - “h iv,” mostly trimmed away.

    Written by a single scribe in a Gothic textura in black ink with red rubrics. f. 1: three-staff high initial “P” in blue and red with red infill and filigree; one-staff high initials throughout in black with red filigree or red; some filigree from descenders of lowest writing line in lower margin in black and/or red.

    Binding: Original deerskin with floral stamps over boards, upper clasp, band, and both clasp nails extant, braided blue and white endbands, pastedowns printed (possibly from incunables), front binding stays from a German scholastic manuscript from the second half of the thirteenth century scholastic manuscript, and rear binding stay from a German monastic Bible, from the second half of the 12th century, preserving Psalm 140:2-9.

    Inscription

    f. 1: a mid-15th century inscription, "Pro sorore DK" f. 1v: a mid-15th century inscription, "Das puch gehort in das closter zu medingen prediger ordens"

    Provenance

    Mid-15th century, the library of the Dominican nuns of St. Mary's in Medingen [see inscription f. 1v]. Mid-15th century, Sister D.K. [see inscription f. 1]. By 1907, with Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1907, gift of Dr. Denman W. Ross. (Accession date: February 14, 1907)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 18.9 x 13.8 cm (7 7/16 x 5 7/16 in.) Other (writing space): 11.8 x 8.8 cm (4 5/8 x 3 7/16 in.)

    Accession Number

    07.77

    Medium or Technique

    Tempera and ink on parchment; bindings of deerskin over boards

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  • Diurnal (Dominican Use)

    German
    Medieval (Gothic)
    about 1300–50

    Place of Manufacture: Germany

    Description

    Diurnal (a book containing the daytime offices for the canonical hours of prayer), with 309 folios (ff.) and 1 leaf.

    ff. 1 - 4v: Calendar (beginning with May)
    ff. 5 - 5v: [blank]
    ff. 6 - 126: Temporale
    ff. 126 - 213: Sanctorale
    ff. 213 - 222: Commons
    ff. 232 - 297: Ferial diurnale
    ff. 297v - 307: 15th-century sanctorale additions (Corpus Christi, St. Thomas Aquinas, St. Ambrose, St. Louis, St. Alexis)
    ff. 307v - 308: [blank]
    ff. 308v - 309: 15th-century addition

    Pages contain 1 column of 16 text lines in Latin. Bounding lines in brown ink, full-length to all edges, writing lines in brown ink, top line doubled, prickings preserved in outer margin for writing lines, in lower outer and inner margins for bounding lines.

    Lacking first two leaves, f. 5 is a tipped-in blank singleton. Catchwords in lower right corner of last verso of each quire, framed.

    Written in a Gothic bookhand in black ink with red rubrics. f. 8: five-line initial in blue with red infill and blue and red filigree into all margins, with grotesques; two- to three-line initials throughout in red with blue filigree or vice versa, occasionally extending the full length of the outer margin.

    A 17th-century French binding with vellum over pasteboards, with brown ink fillet border on front and back, title on spine reads “Livre d’Heures”, paper pastedowns, braided endband of brown and white thread, all edges gilt. Knotted threads attached to outer edge as bookmarks for the offices of St. Dominic, the common of “Omnium fidelium defunctorum,” and the ferial diurnal.

    Written for use by the Dominican order in the first half of the fourteenth century. The calendar includes the Transitus of St. Dominic (23 May), the feast of Dominic (5 August) and his octave (12 August), as well as the Dominican commemorations of “the blessed brothers of our order” (5 September) and “all the brothers of our order” (10 October). St. Thomas Aquinas, a Dominican saint, is not included in the sanctorale, implying that the manuscript may pre-date his canonization in 1323 (the calendar page that would have included his feastday is lacking).

    Provenance

    In the 19th century, with English dealer [dealer's description laid in]. By 1909, with Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1909, gift of Dr. Denman W. Ross. (Accession date: August 26, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 18 x 12.8 cm (7 1/16 x 5 1/16 in.)

    Accession Number

    09.328

    Medium or Technique

    Tempera and ink on parchment; bindings of vellum over pasteboards with ink and gilding

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  • Homiliary

    Sermones dominicale; summa vitiorum; sermones varia

    probably English
    Medieval (Gothic)
    about 1300–50

    Description

    Book of sermons with 214 folios (ff.) and 2 leaves.

    Part I:
    ff. 1 - 66: [Sermones dominicale; Sunday sermons of St. Anthony of Padua] More than 60 sermons, the first few incipits recorded below:
    (f. 1: Dominica prima adventus Epistola/ Abiciamus opera tenebrarum et induamur…/In verbis istis duae pertes justiae proponuntur…)
    (f. 1v: De evangelio eiusdem/ Ecce rex tuus venit…/Zacarius hic ponuntur…)
    (f. 2v: De dominica 1a adv./ Virtutes caelorum movebuntur…/ Quoniam filius hominis pro…)
    (f. 3v: De epistola eiusdem./ Per patientiam et consolationem scripti…/In liber istis proponitur…)
    (f. 4v: Quid existis indesertum videre…/Hic proponitur 3a partem est exitus…/)
    explicit of final sermon: …ut vitam habent et h[ ]ndancius habent.
    ff. 66-74: additional sermons written by a new hand Memoriam fecit mirabilium sucrum…/…cuius q[ ] piscibus nunc recipiet.

    Part II:
    ff. 75 - 127: Summa vitiorum [compendium on virtues and vices]
    Ordo vitiorum sic p[ ] manifestari…/…duris increpandus obvirgationibus. Explicit summa vitiorum.

    Part III:
    ff. 129v - 214: [sermones varia], written by various hands

    Part I: pages contain 1 column of 30 text lines in Latin. Bounding lines blind or brown plummet; writing lines blind or brown plummet, top line doubled. Part II: 1 column of 40 text lines in Latin. Bounding lines brown plummet, doubled, full-length to top and bottom; writing lines brown plumet, first and last full-length to inner and outer edges, prickings preserved in outer margin for writing lines, in lower outer and inner margins for bounding lines. Part III: 1 or 2 columns of 30-35 text lines in Latin. Bounding lines brown plummet, full-length to all edges; writing lines brown plumet, first and last full-length to inner and outer edges, prickings preserved in outer margin for writing lines, in lower outer and inner margins for bounding lines.

    Quires signed with Roman numerals [i - xiiii] (the last quire is not signed) in the center lower margin of the last verso of each quire, folio signatures [a - g] extant in the first half of several quires, and signature [+] on the first leaf of the second half of each quire. Occasional foliation in pencil in modern Arabic numerals.

    Written by at least five Gothic bookhands and cursives: scribe 1: ff. 1-66 and f. 135 (quire 11) - end; scribe 2: ff. 66-74; scribe 3: ff. 75-129; scribe 4: ff. 129v-133v; and scribe 5: f. 134v. In brown ink with red rubrics. Scribe 1: 2-line initials in red with blue filigree (or vice versa) full-length along inner margin; Part II: 2-line initials in blue with red infill and filigree (or vice versa) barely extending into margin.

    Inscription

    Sixteenth-century inscription (most illegible, but possibly in English), on flyleaf verso.

    Provenance

    By 1909, with Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1909, gift of Dr. Denman W. Ross. (Accession date: August 26, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 12.3 x 9.2 cm (4 13/16 x 3 5/8 in.)

    Accession Number

    09.329

    Medium or Technique

    Tempera, ink, and pencil (modern) on parchment; bindings of calf or deerskin over boards

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  • Rule of Saint Benedict, for Nuns

    Italian
    Medieval (Gothic)
    about 1400–50

    Object Place: Italy

    Description

    Rule of St. Benedict, written for the use of Benedictine nuns, with 50 folios (ff.) and 2 leaves.

    f. i: [originally blank]. Prayers for the weekly outgoing and incoming meal server at the abbey (as stipulated in Chapter 35 of the Rule), added 17th century (“Benedictio pro ebdomedaria quoquine exeunte…/ Deus cui humilium semper accepta sunt vota animarum respice propitious super huius servus tuae sororis nostrae obsequia et ad tua fac eam protingere gratiam ut que hanc ebdomedaria serviendo sororibus nostris devotamente complevit plenit plenissima animae venies in consequatur salvator mundi qui vivis et regnas in secula seculorum.
    Benedictio pro ebdomedaria quoquine intrant…/”)
    f. ii: Later musical addition, probably 17th century (“Verbum patris hodie procesit…”)(for Christmas)

    ff. 1 - 32: Benedictine rule, translated into Italian and for the use of Nuns.
    [Chapters 60 and 62 of the Rule, having to do with priests in the monastery, have been deliberately skipped in this translation, as is common in feminine versions of the rule, leaving 71 chapters of the original 73. ]

    ff. 32 - 49v: Commentary on the Rule of St. Benedict, unrecorded and anonymous.
    “Al nome del Signor nostro miser ihesu christi. In comenca el declaratorio sopra la Regula del patre nostro Beatissimo benedictoru. A scolta o filiola li comandamenti…del cor tuo ale admonitione del pietoso patre…/…le se vigna liberare li soi. S[ ]vi Christo redempotore [ ]el quale vive e regna col patre eterno e cum el spirito sancto in sempiterna seculorum secula amen./ [new script] Intercessio nos quos dominus beatorum Benedicti et Antonii et Bernardi et Abbatum conmenda[ ]it quod nostris [ ]itis nam[ ] valemus eorum patrocinio asse[ ] quomodo per dominum .n./ SIVIS AD VITAM INGREDI SERVA MANDATA [ ]/Deo gratias amen.”

    f. 50: [originally blank] Prayers for the outgoing and incoming weekly Reader for the abbey (as stipulated in Chapter 38 of the Rule), in the same hand as the prayers on f. i. “Benedictio pro ebdomedaria lectoris…”

    Pages contain 2 columns of 31 text lines in Italian; writing lines, in blind or light plummet, do not cross intercolumnar space.

    Catchwords in lower center, last verso of each quire.

    Written in an Italian Gothic script in brown ink, with red rubrics. 11-line opening initial in blue with red harping, 7-line initial on f. 32 in red with blue harping, 2-line initials throughout alternating blue with red harping or red with red harping.

    Written for the use of Benedictine nuns. The text of the Benedictine rule is here translated into Italian and into the feminine, using, for example, “sorelle” for “fratelli” throughout, and substituting “abbatessa” for “abbato” (the only exception is the first chapter, on the history of the Order, which remains in the masculine).

    Inscription

    "NC" monogram stamped in black on f. 1, possibly in 18th century.

    Provenance

    By 1909, Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1909, gift of Dr. Denman W. Ross. (Accession date: August 26, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 19 x 14.1 cm (7 1/2 x 5 9/16 in.)

    Accession Number

    09.330

    Medium or Technique

    Tempera and ink on parchment; bindings of calfskin over oak boards

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  • Various writings

    Retractationes of Saint Augustine

    French
    Medieval (Gothic)
    mid-13th century
    Author of text Saint Augustine (Roman, North Africa, A.D. 354–430)

    Place of Manufacture: possibly Royaumont Abbey, Northern France

    Description

    Various writings by St. Augustine, in 216 folios (ff.) and 1 leaf:

    f. i verso: 14th-century table of contents
    ff. 1 - 39: Liber retractionum. “Incipiunt capitula liber retractionum…/Iam diu est quod facere cogito…/…alios a me dictos retractare coepissem.”
    ff. 39 - 65v: De Achademicis [Contra Academicos tres libri]. “Outinam romaniane hominem sibi…/…modestus tamen et citius quam speraveram fecimus.”
    ff. 65v - 74v: De beata vita . “Si ad phylosophiae portum…/…His dictis facto disputationis fine discessimus.”
    ff. 74v - 97: De ordine. “Ordinem rerum zenobi consequi…/…cum iam nocturnum lumen fuisset illatum.”
    ff. 97 - 115: Soliloquiorum. “Solventi [sic.] michi multa ac varia…/…sine ullo mendatio pullicetur. A. Fiat ut speramus.”
    ff. 115v - 121v: De animae immortalitate [De immortalitate animae]. “Si alicubi est idsciplina nec esse…/…non autem ita esse in anima per sensus de quo dictum est probatur.”
    ff. 121v - 137: De moribus ecclesiae catholicae. “In aliis libris satis opinor…/…moresque in einorabiles aliquando veniamus.”
    ff. 137 - 154: De moribus ecclesiae catholicae, Liber II. “Nulli esse arbiror dubium…/…et in tanta catholicae multitudine non velitis.”
    ff. 154 - 194v: De libero arbitrio. “Dic michi quaeso te utrum deus…/…requiescere aliquando compellit.”
    f. 194v: Unidentified epilogue to the Libero Arbitrario “Qui falso de deo credit…/…scismaticos autem non fides a bonis catholicis diversificat.”
    ff. 195 - 216: Adversus Manicheos [De Genesi contra Manichaeos]. “Si eligerent manichei quos deciperent…/…quae michi videbantur exposui.”

    2 columns of 35 text lines in Latin. Bounding lines in black plummet, full-length to all edges, writing lines in black plummet, crossing incolumnar space, doubled and full-length at top, center, and bottom, prickings preserved in outer margin for writing lines, in lower margin for bounding lines.

    Catchwords in lower right margin of the last verso of each quire, in the same hand as the text or in a current script. Modern Arabic pencil foliation every ten leaves, beginning with [1] on the flyleaf, so reaches 217 instead of 216.

    Written in a Gothic bookhand in black ink with red rubrics. Two-line book and retraction initials throughout alternating blue with red filigree and red with blue filigree. Text initials 5- to 8-line blue and red with red and blue spiral infill with contrasting berries and blue and red filigree into margin.

    Inscription

    ex libris on f. 216, "Liber sanctae mariae regalis montes."

    Provenance

    Mid-thirteenth century, probably written at the royal Cistercian abbey of Royaumont [see note 1]; 1791, documented at the Abbey of Royaumont [see note 2]; 1806, acquired by Charles Chardin (bookseller; b. 1742 - d. 1826), Paris [see note 3]; February 9 - March 22, 1824, Chardin sale, Debure Frères, Hôtel de Bullion, Paris, lot 202, sold to J.-P. Aillaud, probably for Sir Thomas Phillipps (b. 1792 - d. 1872), Cheltenham, England [see note 4]; June 10-17, 1896, posthumous Phillipps sale, Sotheby's, London, lot 46, to Quaritch, Ltd., London [see note 5]; probably sold by Quaritsch through Edward Waldo Forbes to Denman Waldo Ross (b. 1853 - d. 1935), Cambridge, MA; 1909, gift of Denman Waldo Ross to the MFA. (Accession Date: August 26, 1909) NOTES: [1] The thirteenth-century inscription on f. 216 reads: "Liber s[an]c[ta]e Mariae Regalis Montis," which can be found in other manuscripts originating at Royaumont. The Maurists--a congregration of Benedictine monks in France--used this manuscript in their seminal, 1679 edition of Augustine's works. The Maurist editors' characteristic markings and notations are found throughout the manuscript. [2] The abbey at Royaumont was dissolved in 1791. An inventory drawn up at that time lists the present manuscript under no. 75. See M. Huglo, "La dispersion des manuscrits de Royaumont," Revue Benedictine 113 (2003): pp. 384-385. [3] Huglo 2003 (as above, n. 2), pp. 370 and 390. In Chardin's catalogue of 1811, this was cat. no. 52. There is also a pencil notation inside front cover. [4] Huglo, p. 390. Phillipps lion rampant stamp on front flyleaf and notation "Phillipps Ms 763" on flyleaf verso. [5] Ross acquired other manuscript leaves from Quaritsch through Forbes.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 26.9 x 19 cm (10 9/16 x 7 1/2 in.)

    Accession Number

    09.331

    Medium or Technique

    Tempera, ink and pencil (modern) on parchment; bindings of deerskin over boards, parchment pastedowns and flyleaves

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  • The Ascension (Cutting from a Gradual or Antiphonary)

    Italian (Bologna?)
    Medieval (Gothic)
    about 1350–1400
    Attributed to Niccolò di Giacomo da Bologna (Italian (active in Bologna, 1349–1403))

    Description

    A cutting from a Gradual or Antiphonary (both books hold songs used in the Divine Office or Mass), containing two partial staves on verso, heightened square neumes on a four-line staff (no clef extant).

    Recto: P[ost passionem suam…]
    Verso: …[nu]bes suscepit [eum ab oculis e]orum alle[luia]

    Text in Latin written in a Rotunda script in black ink. [P] in gold and colors on gold background, historiated with the Ascension: a crowd of saints and other onlookers gaze upward at the ascending Christ, who is positioned sideways in a lunge with his left hand raised toward heaven.

    Provenance

    By 1909, Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1909, gift of Dr. Denman W. Ross. (Accession date: August 26, 1909)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall: 13 x 9.8 cm (5 1/8 x 3 7/8 in.)

    Accession Number

    09.336

    Medium or Technique

    Tempera and ink with gold leaf on parchment

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  • Book of Hours (Use of Lisieux, for female patron)

    French (Loire Valley)
    Medieval (Gothic)
    mid-15th century

    Place of Manufacture: Loire Valley, France

    Description

    Book of Hours with 136 folios (ff.) and 3 leaves.

    ff. 1 - 12v: Calendar
    ff. 13 - 26: Hours of the Virgin (Use of Lisieux)
    (ff. 13 - 24v: Matins)
    (ff. 25 - 36: Lauds)
    ff. 37 - 38v: Hours of the Cross (intercalated and abbreviated)
    f. 39 - 39v: Hours of the Holy Spirit (intercalated and abbreviated, imperfect - lacking one leaf after f. 39)
    ff. 40 - 65v: Hours of the Virgin, continued
    (ff. 40 - 45: Prime (begins imperfectly, lacking one leaf before f. 40))
    (ff. 45v - 49v: Terce)
    (ff. 50 - 53v: Sext)
    (ff. 54 - 57v: Nones)
    (ff. 58 - 59v: Vespers (begins imperfectly, lacking one leaf before f. 58))
    (ff. 60 - 65: Compline)
    (f. 65v: [blank])
    ff. 66 - 80: Penitential Psalms
    ff. 80 - 86v: Litany and prayers
    ff. 87 - 89v: Obsecro te (ends imperfectly, lacking one folio after f. 89) (female use)
    ff. 90 - 136: Office of the Dead (Use of Lisieux)
    f. 136v: [blank]

    1 column of 13 text lines in Latin. Bounding lines in red plummet, full-length to top and bottom edges, writing lines in red plummet, top line full-length and doubled, prickings preserved in outer margin for writing lines, in lower margin for bounding lines.

    Lacking two folios after f. 39 (the central bifolium, including the Prime miniature), one folio before f. 58 (the Vespers miniature), and one folio before f. 90 (the Office of the Dead miniature). Some catchwords extant in lower margin of last verso of quire.

    Written in a Gothic bookhand in brown ink with red rubrics. Two-line initials throughout in gold leaf with colors, one-line in-text initials in gold leaf with colors, line fillers in salmon and blue with gold leaf and white highlighting, in-text initials lacking in calendar, KLs in gold leaf on blue and salmon background with white highlights.

    Nine (of twelve) ¾-page miniatures, each in a thin arched, gold frame with full border of thin black vines with gold berries and flowers in colors, with acanthus sprays in corners in gold and colors. The miniatures are characterized in part by a deep rust color in the palette that is used especially for backdrop walls in interiors, and then decorated with a lighter rust filigree. In exterior scenes, the background consists of two overlapping hills and a central plain, in varying shades of green. The gold frame encloses the three lines of text on each miniature page, including a three-line initial in blue with white filigree highlights on a gold background with floral infill.

    Written in the Loire Valley in the mid-fifteenth century, for the use of a woman in Lisieux, in Normandy. The Hours of the Virgin and the Office of the Dead are Lisieux Use, and the calendar includes Lisieux and Loire region saints such as Guillaume (12 Jan.), Ursinus (29 Dec.) and his translation (11 June). The litany includes similarly localizable saints such as Taurinus, Avia, Leobines, and an unidentified “St. Ausberta.” The “Obsecro te” uses the feminine forms “famula tua,” indicating that the manuscript was made for a female patron.

    Inscription

    Faded fifteenth-century notes or inscription on f. 136v, possibly in French. Nineteenth-century descriptive notes in French on f.1 verso.

    Markings

    Paper front flyleaf with watermark "C. Baudrouet/ C. Dalancon".

    Provenance

    By 1841, Adolphe Audenet (1800-1872), [see note 1]; March 11 - April 3, 1841, sold by Adolphe Audenet at Hotel Drouot, Paris, no. 21 [see note 2]. By 1921, with Joseph H. Clark; 1921, gift of Joseph H. Clark. (Accession date: June 6, 1912) NOTES: [1] See bookplate on f. i verso. [2] Hotel Drouot, "Catalogue d'une collection de très beaux livres tant anciens que modernes" (Paris, March 11 - April 3, 1841), p. 4, no. 21.

    Credit Line

    Gift of Joseph H. Clark

    Details

    Dimensions

    Overall (page dimensions): 17.8 x 13.3 cm (7 x 5 1/4 in.)

    Accession Number

    12.390

    Medium or Technique

    Tempera and ink with gold leaf on parchment; bindings of calfskin over pasteboards with marbleized pastedowns and endpapers, gilded spine

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  • Leaf from a Breviary

    French
    Medieval (Gothic)
    late 13th century

    Place of Manufacture: France

    Description

    One of three codicologically unrelated leaves from a breviary, a liturgical book comprising hymns, psalms, readings, anthems, and other prayers for the reading of the Daily Office.

    2 columns of 28 text lines or 9 staves in Latin. Bounding lines very light plummet, full length to upper edge. Heightened notation (puncta and virga only) on a four-line black staff, C-clef indicated, F-line in red.

    Written in a Gothic bookhand in black ink with red rubrics. One-staff or one-line initials throughout in red with blue filigree or vice versa. Two 6-line foliate initials in gold and colors with bars into margins, with grotesques and birds in colors. 15.299 recto: seven-line initial [E] in colors with bars into upper, inner and lower margins in colors and gold with grotesques and birds, historiated with King David seated playing hanging bells.

    Provenance

    Prior to 1915, with Quaritch [see note 1]; sold by Quaritch through Edward Waldo Forbes (1873 - 1969) and purchased by Dr. Denman Waldo Ross (1853 - 1935), Cambridge, MA [see note 2]; 1915, gift of Denman Waldo Ross. (Accession date: March 4, 1915) NOTES: [1] Most probably, Bernard Quaritch (1819-1899), a bookseller and collector in London, England. He founded his company, Bernard Quaritch, Ltd., in 1847. Following his death in 1899, the company was inherited by his son. [2] Forbes was the Director of the Fogg Museum at Harvard University. In addition to MFA leaves 15.300 and 15.301, he also owned two other leaves from the same manuscript.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 20 x 13.8 cm (7 7/8 x 5 7/16 in.)

    Accession Number

    15.299

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Leaf from a Breviary

    French
    Medieval (Gothic)
    late 13th century

    Place of Manufacture: France

    Description

    One of three codicologically unrelated leaves from a breviary, a liturgical book comprising hymns, psalms, readings, anthems, and other prayers for the reading of the Daily Office.

    2 columns of 28 text lines or 9 staves in Latin. Bounding lines very light plummet, full length to upper edge. Heightened notation (puncta and virga only) on a four-line black staff, C-clef indicated, F-line in red.

    Written in a Gothic bookhand in black ink with red rubrics. One-staff or one-line initials throughout in red with blue filigree or vice versa. Two 6-line foliate initials in gold and colors with bars into margins, with grotesques and birds in colors.

    Provenance

    Prior to 1915, with Quaritch [see note 1]; sold by Quaritch through Edward Waldo Forbes (1873 - 1969) and purchased by Dr. Denman Waldo Ross (1853 - 1935), Cambridge, MA [see note 2]; 1915, gift of Denman Waldo Ross. (Accession date: March 4, 1915) NOTES: [1] Most probably, Bernard Quaritch (1819-1899), a bookseller and collector in London, England. He founded his company, Bernard Quaritch, Ltd., in 1847. Following his death in 1899, the company was inherited by his son. [2] Forbes was the Director of the Fogg Museum at Harvard University. In addition to MFA leaves 15.299 and 15.301, he also owned two other leaves from the same manuscript.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 20 x 13.8 cm (7 7/8 x 5 7/16 in.)

    Accession Number

    15.300

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Leaf from a Breviary

    French
    Medieval (Gothic)
    late 13th century

    Place of Manufacture: France

    Description

    One of three codicologically unrelated leaves from a breviary, a liturgical book comprising hymns, psalms, readings, anthems and other prayers for the reading of the Daily Office. This leaf contains prayers and litany (“…matris in saeculo matus…/…Sanctae Agapitae oremus…”).

    2 columns of 28 text lines in Latin. Bounding lines very light plummet, full length to upper edge. Heightened notation (puncta and virga only) on a four-line black staff, C-clef indicated, F-line in red.

    Written in a Gothic bookhand in black ink with red rubrics. One-staff or one-line initials throughout in red with blue filigree or vice versa. Two 6-line foliate initials in gold and colors with bars into margins, with grotesques and birds in colors.

    Provenance

    Prior to 1915, with Quaritch [see note 1]; sold by Quaritch through Edward Waldo Forbes (1873 - 1969) and purchased by Dr. Denman Waldo Ross (1853 - 1935), Cambridge, MA [see note 2]; 1915, gift of Denman Waldo Ross. (Accession date: March 4, 1915) NOTES: [1] Most probably, Bernard Quaritch (1819-1899), a bookseller and collector in London, England. He founded his company, Bernard Quaritch, Ltd., in 1847. Following his death in 1899, the company was inherited by his son. [2] Forbes was the Director of the Fogg Museum at Harvard University. In addition to MFA leaves 15.299 and 15.300, he also owned two other leaves from the same manuscript.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 20 x 13.8 cm (7 7/8 x 5 7/16 in.)

    Accession Number

    15.301

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • The Betrayal (Cutting from a Gradual or Antiphonary)

    Italian (Northern Tuscany)
    Medieval (Gothic)
    about 1350–1400
    Attributed to Niccolò di Giacomo da Bologna (Italian (active in Bologna, 1349–1403))

    Place of Manufacture: Europe, Italy, Northern Tuscany

    Description

    A double-sided cutting from a gradual or antiphonary, both book types containing songs used in the Divine Office or Mass. Illuminated “O” on verso historiated with a scene of the Betrayal of Christ by Judas Iscariot. In the foreground, Judas embraces Christ, surrounded by a crowd of onlookers and soldiers, two of whom raise lanterns in the background. Painted on gold leaf with acanthus in orange and pale blue into margin. Responsory on recto begins with a 1-staff-high initial in red with blue filigree. Written in a Rotunda script in black ink.

    Matins of Fer. 6 in Parasceve:
    [A. Diviserunt sib]i vestimenta [mea et super v]estem meam mise[runt sortem]; [R.] Om[nes amici mei dereliquerunt…]

    Three partial staves on recto, writing lines in blind, heightened square neumes on a four-line red staff, c-clef.

    Provenance

    1917, bequest of John B. How to the MFA. (Accession Date: January 18, 1917)

    Credit Line

    Bequest of J. B. How

    Details

    Dimensions

    Overall: 22 x 20.7 cm (8 11/16 x 8 1/8 in.)

    Accession Number

    17.91

    Medium or Technique

    Tempera, ink, and gold leaf on parchment

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  • Excerpts from the Enchiridion

    Oratio devotissima

    Northern Italian
    Medieval (Gothic)
    about 1400–50
    Author of text Pope Leo III (died 816)

    Place of Manufacture: Northern Italy

    Description

    Excerpts from the Enchridion (a collection of mystical prayers) with 28 folios (ff.).

    ff. 1 - 2v: John 1:1-15
    ff. 2v - 3v: Prefatory prayers
    (ff. 2 - 3: Perquem haec omnia domine…/…omnis honor et gloria virtus et potestas per omnia saecula saeculorum Amen.)
    (ff. 3 - 3v: Praeceptis salutaribus moniti et divina…/Pater noster qui est in caelis…)
    ff. 3v - 14v: [Seven Mystical Prayers of St. Leo]: Libera quaeso domine famulum tum…/…quia nondum venerat hora eius.
    ff. 14v - 27v: additional prayers
    (ff. 14v - 15v: Dulcissime domine Iesu christe fili dei vivi qui audisti…/…in viam pacis et securitatis ad laudem et gloriam…)
    ff. 15v - 17: Domine deus omnipotens pater qui dissipasti…/…in malviolam potestatem suam in me valeant exercere. Per dominum nostrum.
    (ff. 17 - 18: Domine deus omnipotens pater qui de nihilo…/…dupplici contritione contere eos domine deus meus.)
    (ff. 18 - 19: Domine Iesu christe fili dei vivi…/…ab omni doloso homine a quocunque me persequentem. Amen.)
    (ff. 19 - 21: Misericordissime dominus Iesu christe per istam crucem…/…defendat me ab omnibus inimicis meis visibilibus et invisibilibus. Amen.)
    (ff. 21 - 27: O adonai Iudica domine nocentes me expugna…/…cum sanctis tuis lux vera societas plena gaudium sempiternum. Qui vivas et regnas…)
    (f. 27: Benedicat me pater qui omnia crevit ex nihilo…/…qui me semper salvet pie consolationis infusione. Amen.)
    (ff. 27 - 27v: Pax domini nostri Iesu christi et virtus passionis eius…/…omnes inimicos meos visibiles et invisibiles in haec hora et in hora mortis et in omni tempore. Amen.)
    ff. 28 - 28v: [blank]

    1 column of 15 text lines in Latin. Bounding lines single brown plummet, full-length to top and bottom, writing lines brown plummet. Some leaves foliated in modern pencil.

    Written in an Italian rotunda script in brown ink with red rubrics. 2- to 3-line initials throughout in gold with blue filigree, blue with red, or red with gold, extending into outer margin.

    The Enchiridion, a collection of mystical prayers, was supposed to have been written by Pope Leo III for Charlemagne. This manuscript appears to be the oldest surviving copy of any portion of the Enchiridion, preserving the prefatory prayers and the central section of the work, the Seven Mystical Prayers of Pope Leo. In this copy, the prayer divisions are somewhat different than those preserved in the later printed editions.

    Inscription

    Seventeenth-century Italian notes inside upper cover relating to currency exchanges. Nineteenth-century shelf-mark "88" on front pastedown, "8662" on f. 1 recto.

    Provenance

    In the 17th century, probably in Italy [see note 1]. By 1913, Dr. Denman Waldo Ross (1853-1935) [see note 2]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] Seventeenth-century Italian notes inside upper cover relating to currency exchanges. [2] From 1913 until it was made a gift, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 13.1 x 8 cm (5 3/16 x 3 1/8 in.)

    Accession Number

    17.514

    Medium or Technique

    Ink, pencil (modern), and gold on parchment; bindings of calfskin over pasteboard, with traces of gilding

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  • Psalter (originally for Benedictine Use, adapted for Augustinian Use)

    German (probably Trier)
    Medieval (Gothic)
    mid-13th century

    Place of Manufacture: Trier (?), Germany

    Description

    Psalter (a book containing a collection of Psalms), with 135 folios (ff.) and 1 leaf.

    ff. 1 - 6v: Calendar
    ff. 7 - 120v: Psalter (begins at Psalm 2:8 “gentes hereditatem…”)
    ff. 120v - 132v: Canticles
    (Six ferial canticles (Confitebor, Ego dixi, Exultavit cor meum, Cantemus domino, Domine audivi, Audite celi), Te deum, Benedicite omnia opera, New Testament Canticles (Benedictus deus israhel, Magnificat, Nunc dimittis), Athanasian creed (Quicumque vult salvus))
    ff. 132v - 135v: Litany and prayers
    rear flyleaf: leaf (first half of twelfth century) from a Latin grammatical text

    1 column of 19 text lines in Latin. Writing lines blind or light brown plummet.

    Lacking single leaves after ff. 6, 23, 34, 44 (two leaves), 54, 67, 79, and 92 (the leaves beginning major Psalter divisions at Psalms 1, 26, 38, 52, 68, 80, 97, and 109, all of which presumably were decorated with 10-line initials as on f. 81). Catchwords lower center, last verso of most quires. Contemporary Roman foliation partially preserved in upper right rectos.

    Written in an early Gothic script in brown ink with red rubrics. One initial only (of ten), on f. 81: 10-line foliate initial in blue with vine infill in colors on gold leaf background in red and white frame, for Psalm 101. Psalm initials alternate 2- and 3-line red with blue, blue with red and/or green.

    Written in Germany, probably at the Benedictine Abbey of St. Martin in Trier. The calendar includes many German saints, among them St. Valerus, Bishop of Trier (29 Jan.), St. Quirinus (also of especial import in Trier), Paulinus, Bishop of Noyon (22 June), Leodegarius (2 Oct.), and Pirminius, Bishop of Trier (3 November). In addition to evangelists, apostles, and Marian feasts, only two Saints are given in red: St. Nicholas (6 December) and St. Martin. The devotion to St. Martin may indicate that the manuscript was produced at the abbey of St. Martin in Trier. The calendar was originally written for Benedictine use, but in the fourteenth century Augustinian feasts were added (e.g. Translation of “our blessed father” St. Augustine on 28 February). Of note in the litany are Leodegarius and Pelagia.

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 17 x 13.2 cm (6 11/16 x 5 3/16 in.)

    Accession Number

    17.515

    Medium or Technique

    Tempera, ink, and gold leaf on parchment

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  • Treatise in Defense of Christianity

    Spanish
    Medieval (Gothic)
    mid-15th century
    Author of text Rodericus [Fernandez] Narvaez, Bishop of Jaen (Castille) (1383–1422)

    Place of Manufacture: Spain

    Description

    Treatise in defense of Christianity with 63 folios (ff.).

    ff. 1 - 2: Table of chapter headings
    IN NOMINE DOMINI NOSTRI IESU XPISTI ET GLORIOSE VIRGINIS M[ARIAE] CQ [?] in comenca la tavola del libro ordinato per lo Reverendo signor Ep[iscop]o per la gratia de dio de la Cita de Iahen del Regno de Castiglya…
    ff. 2 - 58v: Treatise in defense of Chistianity
    ff. 59 - 63: Record of a disputate between the muslim Abrahym Magaluf and the Christian John, in Fez in 1394
    f. 63v: [blank]

    Each page has 1 column of 24 text lines in Italian. Bounding lines black plummet, full-length to top and bottom edges, writing lines in brown ink, bottom line unwritten, some prickings preserved in lower margin for bounding lines.

    First leaf cancelled. Catchwords vertical in lower right corner of final verso of each quire. Contemporary Arabic pagination on upper right rectos, modern pencil foliation on lower right rectos.

    Written in Spain by an Italian scribe. Written in a current Gothic Spanish bookhand in black ink with red rubrics. f. 2v: 10-line initial in gold leaf with white-vine infill on colored background (Italianesque style); f. 59: 9-line initial in purple and red, with purple and red bubbles and harping; 2- to 10-line initials throughout, purple with red bubbles and harping alternating red with purple or vice versa (Spanish style); paragraph marks alternating red and purple; in-text sentence initials stroked yellow. Filigree initials possibly later additions.

    Inscription

    Effaced 17th-century inscription in upper margin of f. 1 recto; 17th-century additions and marginalia throughout.

    Markings

    Unidentified snake watermark on paper.

    Provenance

    By 1871, Conte Eugenio Minutoli Tegrini, Lucca, Italy [see note 1]. About 1912, possibly T. De Marinis, Florence, Italy [see note 2]. By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 3]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] See Catalogue, Conte Eugenio Minutoli Tegrini Collection, 1871, p. 32, n. 169. [2] Ricci, Seymour de. "Census of medieval and renaissance manuscripts in the United States and Canada," vol. I (New York, 1935-40), p. 945. [3] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 29.5 x 21.2 cm (11 5/8 x 8 3/8 in.)

    Accession Number

    17.516

    Medium or Technique

    Tempera, ink, and pencil (modern) with gold leaf on paper

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  • Ferial Psalter

    Spanish (?)
    Medieval (Gothic)
    about 1300–50

    Place of Manufacture: Spain

    Description

    Ferial Psalter (a collection of Psalms for daily use), with 53 folios (ff.):

    ff. 1 - 91: Ferial Psalter (Septuagint), with antiphons, ten-fold division.

    In omni gloria mundo amen. Ad nocturnum antiphonas Veniet ecce res…/B/eatus vir q[ui]/non abiit…/…dierum cinculis nullis ruam[ ] actibus. Pra[ ] pater. [imperfect - ends at Psalm 80]

    Each page contains 2 columns of 22 text lines in Latin and 8 staves of music. No bounding or writing lines, prickings preserved in outer margin for writing lines. Square heightened stemmatic notation on a red four-line staff, f-clef indicated.

    Lacking at least 19 leaves at front, five leaves after f. “21” (i.e. f. 2), one leaf after f. “28,” one leaf after f. “31,” four leaves after f. “42,” three leaves after f. “62,” one leaf after ff. “79” and “81,” two leaves after f. “84,” and one leaf after f. “89.” One catchword preserved, on f. [59]v. Seventeenth-century arabic ink foliation begins with “27” on f. 3, reaches “91” on f. 53, predates losses.

    Written in a Rotunda script in black ink with red rubrics. f. 1v: Ottonian-style full-page initial [B] in gold with vine and foliation infill in colors on carpet background in a panelled gilt frame; f. 2: 1/4-page carpet-style [EATUS VIR] in gold on colors in panelled gilt frame; ff. 15, 22v, 43v (Psalms 26, 38, 68 - initials for Psalms 52 and 80 are lacking): 5- or 6-line initials in colors with colored and white-vine infill with Ottonian-style lions’ heads or animals, on gold background (same color scheme as the carpet page); remaining Psalm initials by two artists: 1) ff. 1-15v: alternating blue with red infill and filigree with berries, or red with blue, Spanish in style; 2) ff. 16-53v: similar color scheme, but less elaborate and skillful than the first artist; verse intials alternate red with blue filigree or vice versa.

    Parchment patches throughout from a thirteenth-century martyrology from Italy, including parts of the lives of Sts. Alban, Epimachus, Crystantus and Daria, and Andrew, with alternating blue or red initials with contrasting harping, and red rubrics, original dimensions of the page were at least 160 x 160 mm, with approximately 30 lines and one column.

    Binding: 15th-century blind-stamped and -rolled German pigskin over boards, reused from an earlier book after the foliation and text losses. Even though the foliation post-dates covers and predates losses, the singletons are bound in, implying that the binding was attached after the foliation and text losses, i.e. older covers were reused after the 17th century (this contention is supported by the condition of the spine, which has been adapted to fit the thickness of the book by being trimmed and tucked into the lower cover), with paper pastedowns contemporary with rebinding. It is possible that these were the original covers, and after the first and last groups of leaves were lost the spine was adapted for use with the new arrangement of the manuscript.

    Provenance

    By 1913, with Ludwig Rosenthal; by 1913, sold by Ludwig Rosenthal to Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 37.2 x 26.2 cm (14 5/8 x 10 5/16 in.)

    Accession Number

    17.518

    Medium or Technique

    Tempera and ink with gold on parchment; bindings of pigskin over boards with paper pastedowns

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  • Sixth Book of Papal Letters

    Liber Sextus Decretalium

    German
    Medieval (Gothic)
    about 1400–50
    Author of text Pope Boniface VIII (about 1234–1303)

    Place of Manufacture: Germany

    Description

    The Sixth Book of Papal Letters of Pope Boniface VIII, each page with with two columns of 50 text lines in Latin. Bounding lines light plummet, margins doubled and full-length to all edges; writing lines, in light plummet, do not cross intercolumnar space, prickings preserved in upper and lower margins for bounding lines, in outer margin for writing lines.

    Written in a German bâtarde script in black ink with red rubrics. Red heading reads “Liber sextus Titulus XLVIIus.”

    Inscription

    Nineteenth-century pencil notation in lower left margin of f. 2v reads "Liber sextus MS circ. 1420."

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 36.7 x 26.4 cm (14 7/16 x 10 3/8 in.)

    Accession Number

    17.523

    Medium or Technique

    Ink and pencil (modern) on parchment

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  • Antiphonary (Cistercian Use)

    German
    Medieval (Gothic)
    14th century

    Place of Manufacture: Germany

    Description

    One of two leaves from an antiphonary, a book containing the sung portions of the Divine Office (see also MFA 17.530), written at a German Cistercian abbey:

    Office of the Dead (Cistercian use):
    …dum non est qui redimat…/R. Credo quod redemptor meus…/R. Qui lazarum resuscitasti…/iio no. a. In loco pascue ibi…/a. Delicta viventutis mee…/a. Credo videre…/R. Heu michi domine…/…quid faciam miser…

    1 column and 7 (of at least 8) staves; text in Latin. Bounding lines in red, doubled and full-length to upper and lower edges, writing lines in blind or light plummet, prickings preserved in outer margin for writing lines. Heightened square neumes on a four-line red staff, c- or f-clef.

    Written in a Gothic script in black ink with red rubrics. Responsories begin with staff-high initial in black with red and white foliate infill, or vice versa. Antiphons and versicle initials are black stroked with red. Verso has one-staff-high initial, angel blowing a horn in the letter [C] (for “Credo quod…”), in purple and green wash.

    The first three Responsories for the Office of the Dead are the Cistercian Use: “Credo quod redemptor”, “Qui Lazarum rescuscita,” and “Memento mei deus,” with the fourth also following the Cistercian pattern, “Heu michi domine quia.”

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 27 x 23 cm (10 5/8 x 9 1/16 in.)

    Accession Number

    17.529

    Medium or Technique

    Tempera and ink on parchment

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  • Antiphonary (Cistercian Use)

    German
    Medieval (Gothic)
    14th century

    Place of Manufacture: Germany

    Description

    One of two leaves from an antiphonary, a book containing the sung portions of the Divine Office (see also MFA 17.529), written at a German Cistercian abbey:

    Office De Macchabeis (Summer Sundays):
    P. Mag. R. Exaudiat do…/R. O vestrum in lege…/R. Tua est potentia tuum…/…v. Creator omnium deus…

    1 column and 7 (of at least 8) staves; text in Latin. Bounding lines in red, doubled and full-length to upper and lower edges, writing lines in blind or light plummet. Heightened square neumes on a four-line red staff, c- or f-clef.

    Written in a Gothic script in black ink with red rubrics. Responsories begin with staff-high initial in black with red and white foliate infill, or vice versa. Antiphons and versicle initials are black stroked with red. Recto: Christ in Majesty, seated, right hand raised in benediction, left hand holding book, in the letter [O] (for “O vestrum…”), in purple, green, and red wash.

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 25.7 x 22.4 cm (10 1/8 x 8 13/16 in.)

    Accession Number

    17.530

    Medium or Technique

    Tempera and ink on parchment

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  • Christ in Majesty (Cutting from a Gradual or Antiphonary)

    Italian
    Medieval (Gothic)
    about 1350–1400

    Place of Manufacture: Italy

    Description

    A cutting from a gradual or antiphonary (both book types contain songs for the Divine Office or Mass) with an initial [N] in gold and colors, historiated with Christ in Majesty, right hand raised in blessing, left hand holding book.

    Provenance

    By 1913, with Ludwig Rosenthal, Munich; by 1913, sold by Ludwig Rosenthal to Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 8 x 8 cm (3 1/8 x 3 1/8 in.)

    Accession Number

    17.532

    Medium or Technique

    Tempera and ink with gold on parchment

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  • Leaf from an Antiphonary

    Italian
    Medieval (Gothic)
    late 14th century–early 15th century

    Place of Manufacture: Italy

    Description

    Single leaf from an antiphonary, a choral book containing the music used in the Divine Office. This page is from the Common of Martyrs, the Office of the Dead.

    1 column of 32-33 text lines in Latin. Bounding lines in brown ink, full-length to upper and lower margins, writings lines in brown ink. Heightened square notation on a four-line red staff, F- or C-clef indicated.

    Written in a rounded Gothic script in black ink with red rubrics. One- to two-line red capitals in text.

    Folded for use as a binding or flyleaves.

    Inscription

    MFA label in lower right corner of recto.

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession Date: February 15, 1917) NOTES: [1] On loan to the MFA by Ross from September 30, 1913.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 32.3 x 20.8 cm (12 11/16 x 8 3/16 in.)

    Accession Number

    17.533

    Medium or Technique

    Ink on parchment

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  • Leaf from the Digest

    Leaf from the Digestum

    Italian
    Medieval (Gothic)
    14th century
    Author of text Emperor Justinian I (483?–565)

    Place of Manufacture: Italy

    Description

    1 leaf with text from Justinian’s Digest (or Digestum), a compilation of legal rules and statutes from the classical jurists, which formed part of the larger Code of Justinian.

    Leaf contains the main text from the Digest circumscribed by gloss, or comments on or translations of the main text. 2 columns of 50 primary text lines in Latin, with at least 85 gloss text lines in the inner, outer, and upper margins. Bounding lines in brown plummet, full length to all margins, writing lines brown plummet, crossing intercolumnar space.

    Written in a hurried Gothic bookhand, with the gloss in a highly abbreviated and hurried scholastic hand in dark brown ink, gloss slightly lighter. Headings in epigraphic capitals, alternating red and blue, “L[iber]” on verso, “XVII” on recto. Paragraph marks alternating red and blue, one-line initials in blue with minimal red harping or vice versa.

    Used as a flyleaf in a later binding.

    Inscription

    MFA label in upper right corner of verso.

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession Date: February 15, 1917) NOTES: [1] On loan to the MFA by Ross from September 30, 1913.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 30.9 x 22.4 cm (12 3/16 x 8 13/16 in.)

    Accession Number

    17.534

    Medium or Technique

    Ink on parchment

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  • Partial Leaf from a Breviary

    Southern German or Austrian
    Medieval (Gothic)
    late 12th century

    Place of Manufacture: Southern Germany or Austria

    Description

    Upper half of one leaf from a breviary, or a service book containing the text for the celebration of the Divine Office (originally measuring approximately 40 x 28 cm).

    Recto: Common of one martyred Pope: …eum pater meis qui est in celis./ Sermo sancti Augustini episcopi de eadem./ Amen amen dico vobis nisi granum…/R. Desiderium animae eijus…/R. Gloria et honore coronasti…/R. Posuisti domine…/…a te tribu…
    Verso: Common of one martyr: …ad dominum qui fecit…/A. Qui me confessus…/Cap. Beatus vir qui…/R. Posuisti…/H. Deus tuorum…/Lec. Matt. Dixit dominus…/…et filiam adversus matrem suam et nu…

    Two columns of 21 (of approximately 40 originally) lines of Latin text. Bounding lines in plummet, full-length to upper edge, writing lines, in plummet, cross intercolumnar space, prickings in upper margin for bounding lines of both columns.

    Written in a late romanesque script in black ink with red rubrics. Two- to three-line initials in red.

    Provenance

    18th century, possibly owned by Professor Johann Friedrich Christ, Leipzig (1700-1756) [see note 1]. By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 2]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] In the 18th century, the partial leaf was folded and used as a pastedown and conjoint flyleaf for a copy of John of Salisbury's Policraticus de nugis curialium (Lyons, 1513). According to a label laid-down on the verso (on what would have been the flyleaf in the binding) that refers to a copy listed in the library catalogue of one "I. F. Christ, Leipzig 1757, part 1, p. 334" (i.e. Johann Friedrich Christ). A copy of the catalogue in the Universitätsbibliothek Leipzig confirms this reference. It is very likely that it was the very copy bound by this leaf that was owned by Prof. Christ, since the dimensions of the volume are 209 x 150, and the leaf, when folded, would have fit into a book of just that size. [2] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 20.9 x 27.5 cm (8 1/4 x 10 13/16 in.)

    Accession Number

    17.535

    Medium or Technique

    Tempera and ink on parchment

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  • Leaf from the Reasoning of the Divine Officies

    Rationale divinorum officiorum

    English
    Medieval (Gothic)
    15th century
    Author of text Guillaume Durand (French, 1230–1296)

    Place of Manufacture: England

    Description

    1 leaf with text from Guillaume Durand’s Reasoning of the Divine Offices (Rationale divinorum officiorum), a group of eight books that contain a detailed account of the laws, ceremonies, customs, and mystical interpretation of the Roman Rite.

    1 column of 36 text lines in Latin.

    Written in a Gothic cursive in black ink. Paragraph marks in red throughout.
    Used as a pastedown in a later binding.

    Inscription

    MFA label in lower right corner of verso.

    Provenance

    By 1913, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession Date: February 15, 1917) NOTES: [1] On loan to the MFA by Ross from September 30, 1913.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions--trimmed at outer margin): 20.8 x 15.3 cm (8 3/16 x 6 in.)

    Accession Number

    17.536

    Medium or Technique

    Ink on parchment

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  • Leaf from the Corpus Juris Civilis, Codex Justinianus

    Leaf from the Collection of Civil Laws, Book of Justinian

    French
    Medieval (Gothic)
    about 1250–1300
    Author of text Emperor Justinian I (483?–565)

    Place of Manufacture: France

    Description

    A leaf from the Codex Justinianus, containing the Corpus Juris Civilis, a collection of civil laws.

    Corpus Juris Civilis 2:12:12 - 2:31
    Ecce ennuis cui mandatum est ut petat…/…vel si fuit minora restituendi. Venit…

    2 columns of 66 text lines in Latin. Bounding lines in blind, writing lines in blind, crossing intercolumnar space, prickings along inner margin, for writing lines.

    Catchword “e contrarium” in center of lower margin verso.

    Written in a Gothic bookhand in black ink with red rubrics. At rubrics, three-line intials alternate blue stroked red or vice versa. Paragraph marks throughout alternate red and blue. Initials and paragraph marks at the beginning of a line have red and blue filigree running the entire length of all vertical margins (in outer margins, filigree begins at paragraph marks near the end of the line).

    Provenance

    By 1913, bought in Munich by Dr. Denman Waldo Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Dr. Denman Waldo Ross. (Accession date: February 15, 1917) NOTES: [1] From 1913 until it was accessioned, this manuscript was on loan to the MFA from Dr. Denman Waldo Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 34.8 x 21.1 cm (13 11/16 x 8 5/16 in.)

    Accession Number

    17.567

    Medium or Technique

    Tempera and ink on parchment

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  • Saint Luke (cutting from a Greek Bible)

    Byzantine
    about 1200–25

    Place of Manufacture: Byzantine Empire

    Description

    Cutting (single leaf with verso blank) from the opening of the Gospel of St. Luke in a Greek bible, with a portrait of the Evangelist Luke, dressed in a green tunic and purple mantle, seated on a low bench under an arch, writing the opening of his gospel on an open codex (“Epeidhper polloi epeceirhsan…”). His name is inscribed above. Text is in Greek.

    Provenance

    Before the early 20th century, removed from a Greek Bible written in Byzantium [see note 1]. About 1918, purchased by Bourgeois Galleries, New York; 1919, sold by Bourgeois Galleries to the MFA for $950. (Accession date: March 20, 1919) NOTES: [1] Removed with the other three evangelist portraits before the early twentieth century, when all four miniatures were owned by Paris bookdealer D'Aguerre.

    Credit Line

    Arthur Mason Knapp Fund

    Details

    Dimensions

    Overall (page dimensions): 21.5 x 15.7 cm (8 7/16 x 6 3/16 in.) Other (illumination dimensions): 15.6 x 12.5 cm (6 1/8 x 4 15/16 in.)

    Accession Number

    19.118

    Medium or Technique

    Tempera on parchment

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  • Leaf from an Antiphonary

    Italian (Bologna)
    Medieval (Gothic)
    about 1300–25
    Attributed to Neri da Rimini (Italian, active 1303–1328)

    Place of Manufacture: Bologna, Italy

    Description

    One of four codicologically unrelated leaves from an antiphonary, a choral book containing the music used in the Divine Office.

    1 column of 6 staves in Latin. Bounding lines blind or light plummet, doubled and full-length to upper and lower edges, writing lines blind or light plummet, with upper and lower bounding lines for each line of text. Heightened square notation on a four-line red staff, C-clef indicated.

    Written in a Italian rotunda script in black ink, red rubrics. Two-staff-high historiated initial on the verso with Agatha imprisoned in a light salmon and green tower on gold background, in foliate [D] (for “Dum ingrederetur…”) in gold and colors with acanthus into margins.

    Inscription

    17th century foliation in outer margin reads 80.

    Provenance

    By 1920, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA; 1920, gift of Dr. Denman Waldo Ross. (Accession Date: September 2, 1920)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 51.6 x 38 cm (20 5/16 x 14 15/16 in.)

    Accession Number

    20.880

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Leaf from an Antiphonary

    Italian (Bologna)
    Medieval (Gothic)
    about 1300–25
    Attributed to Neri da Rimini (Italian, active 1303–1328)

    Place of Manufacture: Bologna, Italy

    Description

    One of four codicologically unrelated leaves from an antiphonary, a choral book containing the music used in the Divine Office.

    1 column of 6 staves in Latin. Bounding lines blind or light plummet, doubled and full-length to upper and lower edges, writing lines blind or light plummet, with upper and lower bounding lines for each line of text. Heightened square notation on a four-line red staff, C-clef indicated.

    Written in a Italian rotunda script in black ink, red rubrics. Two-staff-high historiated initial on the verso with a male Old Testament figure, probably Abraham, standing at prayer addressing God in heavenly aperture at upper right, in foliate [L] (for “Locutus est…”) in gold and colors with acanthus into margins.

    Provenance

    By 1920, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA; 1920, gift of Dr. Denman Waldo Ross. (Accession Date: September 2, 1920)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 52 x 35.2 cm (20 1/2 x 13 7/8 in.)

    Accession Number

    20.881

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Leaf from an Antiphonary

    Italian (Bologna)
    Medieval (Gothic)
    about 1300–25
    Attributed to Neri da Rimini (Italian, active 1303–1328)

    Place of Manufacture: Bologna, Italy

    Description

    One of four codicologically unrelated leaves from an antiphonary, a choral book containing the music used in the Divine Office.

    1 column of 6 staves in Latin. Bounding lines blind or light plummet, doubled and full-length to upper and lower edges, writing lines blind or light plummet, with upper and lower bounding lines for each line of text. Heightened square notation on a four-line red staff, C-clef indicated.

    Written in a Italian rotunda script in black ink, red rubrics. Two-staff-high historiated initial on the verso with a tonsured male saint standing, grasping hands with God who reaches down from heavenly aperture at upper right, in foliate [E] (for “Euge serva…”) in gold and colors with acanthus into margins.

    Inscription

    17th century foliation in outer margin reads 136 (?).

    Provenance

    By 1920, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA; 1920, gift of Dr. Denman Waldo Ross. (Accession Date: September 2, 1920)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 53 x 35 cm (20 7/8 x 13 3/4 in.)

    Accession Number

    20.882

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Leaf from an Antiphonary

    Italian (Bologna)
    Medieval (Gothic)
    about 1300–25
    Attributed to Neri da Rimini (Italian, active 1303–1328)

    Place of Manufacture: Bologna, Italy

    Description

    One of four codicologically unrelated leaves from an antiphonary, a choral book containing the music used in the Divine Office.

    1 column of 6 staves in Latin. Bounding lines blind or light plummet, doubled and full-length to upper and lower edges, writing lines blind or light plummet, with upper and lower bounding lines for each line of text. Heightened square notation on a four-line red staff, C-clef indicated.

    Written in a Italian rotunda script in black ink, red rubrics. Two-staff-high historiated initial on the recto with Isaac, bedridden and blind, approached by Esau, holding bow and arrow, in foliate [T] (for “Tolle arma…”) in gold and colors with acanthus into margins.

    Inscription

    17th century foliation in outer margin reads 42.

    Provenance

    By 1920, Dr. Denman Waldo Ross (1853-1935), Cambridge, MA; 1920, gift of Dr. Denman Waldo Ross. (Accession Date: September 2, 1920)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 48.8 x 36 cm (19 3/16 x 14 3/16 in.)

    Accession Number

    20.883

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Partial leaf from a Homiliary

    Partial leaf from the Sermons [Homiliae]

    Southern German or Austrian
    Medieval (Romanesque)
    late 12th century
    Author of text Saint Bede the Venerable (673–735)

    Place of Manufacture: Southern Germany or Austria

    Description

    The inner half of one leaf from Homily 15, Book 2, written by Saint Bede. Partial leaf contains one (of two) columns of 34 text lines. Text is in Latin.

    Written in a Romanesque bookhand in black ink. 9-line white-vine initial [V] on recto with incorporated dragon and colored background (green, yellow and blue wash ). Later used as part of a binding.

    Provenance

    By 1920, Denman W. Ross (1853-1935), Cambridge, MA; 1920, gift of Denman W. Ross. (Accession date: October 7, 1920)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 36.1 x 12.6 cm (14 3/16 x 4 15/16 in.)

    Accession Number

    20.1601

    Medium or Technique

    Tempera and ink on parchment

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  • Bible

    French
    Medieval (Gothic)
    about 1250–1300

    Place of Manufacture: Europe, Northern France

    Description

    A Bible with 471 folios (ff.) and 7 leaves:

    ff. 1 - 426v: Bible, Old and New Testaments, most with the common prologues: Pentateuch; Joshua; Judges; Ruth; Kings I-IV; I Chron.; II Chron.; Ezra; Nehemiah; Tobias; Judith; Esther; Job; Psalms; Proverbs; Ecclesiastes; Cantica Canticorum; Sapientia; Ecclesiasticus; Isaiah; Jeremiah; Lamentations; Baruch; Ezechiel; Daniel; Minor Prophets; Hosea; Joel; Amos; Obadiah; Jonah; Micah; Nahum; Habbacuc (called “Baruch”); Zephaniah; Haggai; Zacharias; Malachi; Maccabees; II Macc.; Matthew; Mark; Luke; John; Romans; I Cor.; II Cor.; Galatians; Ephesians; Phillipp.; Laodicians.; Collosians; I Thess.; II Thess.; I Timothy; II Timothy; Titus; Philemon; Hebrews; Acts; Canonical epistles; James; I Peter; II Peter; I John; II John; III John; Jude; Apocalypse.

    ff. 426v - 464: Jerome’s index to the Bible
    f. 464v: [blank]
    ff. 465 - 469v: III Ezra
    ff. 470 - 471v: 15th-century additions: summary of epistle and gospel lections for temporale; list of books of the Bible in order (possibly a mnemonic).

    2 columns of 50 text lines in Latin. Boundings lines brown plummet, doubled and full-length to all edges, writing lines are in brown plummet and do not cross intercolumnar space, prickings preserved in lower margin for bounding lines.

    Sixty-nine 2- to 10-line historiated initials with grotesques, flora and fauna in colors, bar extensions into margins, historiated as follows: f. 1: 8-line historiated [F] showing Jerome writing, in blue and salmon with bar extending length of outer margin; f. 3: full-length [I] historiated with the seven days of creation in seven roundels; f. 20 (Ex.): Man and Moses in doorway; f. 33v (Lev.): Offering; f. 43v (Num.): Moses holding tablets, head of God in clouds; f. 57 (Deut.): Man watching Moses place the tablets in the ark; f. 71 (Joshua): Joshua holding scroll speaks to God, three men stand behind him; f. 79 (Judges): head of God, two seated men; f. 89 (Ruth): Elimelech and Naomi with infant and child; f. 91 (I Kings): Anna and Elcana praying; f. 103v (II Kings): David orders beheading of Amalekite; f. 113v (III Kings): Attendant brings Abishag to David; f. 125v (IV Kings): Ahaziah falling from the tower; f. 136v (I Chron.): three Israelites seated; f. 147v (II Chron.): God addressing Solomon; f. 160 (I Ezra): Cyrus overseeing the construction of Jerusalem; f. 163v (Neh.): Nehemiah giving gold cup to Artaxerxes; f. 168v (Tob.): Tobit and the swallow; f. 172v (Judith): Judith beheading Holofernes; f. 177 (Esther): Esther receiving the scepter from Ahasuerus; f. 182 (Job): Job on dungheap observed by his wife and two others; f. 191 (Psalm 1): David with harp; f. 194 (Ps. 26): David with book, addressing God; f. 196 (Ps. 38): David debating the devil; f. 198 (Ps. 52): the fool; f. 200 (Ps. 68): two compartments, God above and David naked in a boat on the water below; f. 202 (Ps. 80): David playing the bells; f. 204v (Ps. 97): three monks singing at a lectern; f. 206v (Ps. 109): Trinity; f. 211 (Prov.): Solomon teaching seated crowd; f. 217v (Ecclesiastes): Solomon with youth; f. 220 (Cant.): Virgin and child; f. 221v (Sap.): Solomon with soldier; f. 226v (Ecclesiasticus), elderly Hebrew sitting beneath a fruit tree; f. 240 (Isaiah), Isaiah sawn; f. 256 (Jerem.): Jeremiah with boiling cauldron; f. 275v (Lam.): Jeremiah laments Jerusalem; f. 277v (Baruch): Baruch writing; f. 280 (Ezech.): Ezechiel in bed with vision of the tetramorph; f. 298 (Daniel): Daniel in the lion’s den; f. 305v (Hos.): Hosea and Gomer; f. 308 (Joel): Joel preaching to crowd; f. 309 (Amos): Amos with sheep and head of God; f. 311 (Obad.): Obadiah seated, addressing crowd; f. 311v (Jonah): two compartments, Jonah on the boat above, and being spit out by the whale below; f. 312v (Micah): Micah with scroll outside city; f. 314 (Nah.): Nahum preaching; f. 315 (Hab.): Habbakuk holding a rock and a vase; f. 316 (Zeph.): Zephaniah holding a scroll, speaking to God; f. 317 (Hagg.): Haggai standing with book; f. 318 (Zech.): Zechariah holding scroll, speaking to God; f. 322 (Mal.): Malachi with scroll, preaching to a tonsured and robed man; f. 323 (Macc.): Knight on horseback; f. 334 (II Macc.): Seated man with staff, standing man with spear; f. 342 (Mt.): tree of Jesse; f. 352 (Mk. prologue): winged lion; f. 352v (Mk.): Mark; f. 359 (Lk.): Zechariah censing the altar; f. 370v (John): John with scroll; f. 379v (Rom.): Christ and Paul; ff. 384, 388, 391, 392, 393v (I Cor., II Cor., Gal., Eph., Phillip.): Paul delivering the epistle to a crowd; 394v (Laodic.): Paul enthroned; ff. 395, 396, 397 (Col, I Thess., II Thess.): Paul delivering the epistle to a crowd; f. 397v (I Tim.): Paul dictating, scribe writing; ff. 398v, 399v, 400 (II Tim., Titus, Phil.): Paul delivering the epistle to a crowd; f. 400v (Heb.): Paul preaching to the Hebrews; f. 404 (Acts): Ascension; f. 416 (James): James; f, 417 (I Peter): Peter enthroned, holding key; f. 418 (II Peter): Peter standing, holding key; f. 419 (I John): John, tonsured, writing; ff. 420, 420v (II and III John): John seating reading epistle; f. 420v (Jude): Jude standing, reading epistle; f. 421 (Apoc.): John writing with buildings in background (7 churches of Asia?); f. 465 (III Ezra): Josias kneeling with cup before king. Two-line filigree intials throughout alternating blue with red or vice versa.

    Binding: Mid-18th-century gilt-rolled and -tooled French red morocco over boards, spine gilt in compartments with brown morocco leather label gilt-stamped “BIBLIA/ MANUSCRIPTA,” gilt fillet board edges and turn-ins, flyleaves 2 and 3 and their counterparts at the end of the manuscript are old paper with watermark “AMOSIN/ FIN” in front and “FARGE MD” in back, all edges gilt.

    Inscription

    f. 464: Colophon: "Dextram scribentis Benedicat lingua ligentis. Finito libro sit laus et Gloria cristo. Gloria iesu." French dealer's notes presenting the manuscript and describing the printing process, dated 1744, on f. i (parchment flyleaf); Bookplate of Matthias Bruen (1793 - 1829, New York City, NY) with arms and motto "Fides scutum" inside front cover; late nineteenth-century English notes (possibly Bruen's) on second paper flyleaf; MFA bookplate inside front cover.

    Provenance

    1744, with a French dealer [see note 1]. Matthias Bruen (b. 1793 - d. 1829), New York [see note 2]; by descent to his daughter, Frances Davenport Bruen (Mrs. Charles C. Perkins; b. 1825 - d. 1909), Boston [see note 3]; 1909, to her son, Charles Bruen Perkins (b. 1860 - d. 1929) and his wife, Elizabeth Ward Perkins (b. 1873 - d. 1954), Boston; 1922, sold by Elizabeth W. Perkins to the MFA for $1500 [see note 4]. (Accession Date: March 2, 1922) NOTES: [1] Notes found on the parchment flyleaf. [2] Bookplate of Matthias Bruen with arms and motto "Fides scutum" inside front cover. [3] From 1895 until 1909, this manuscript was on loan to the MFA from Mrs. Charles C. Perkins. Following her death, ownership was transferred to her son and heir Charles B. Perkins. [4] MFA accession numbers 22.375-22.379 were purchased together for $1500.

    Credit Line

    Frank S. Adams Fund

    Details

    Dimensions

    Overall (page dimensions): 17.9 x 13.2 cm (7 1/16 x 5 3/16 in.)

    Accession Number

    22.375

    Medium or Technique

    Tempera and ink on parchment; bindings of French red morocco leather over boards with gilding and compartments with brown morocco leather

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  • Book of Hours (variant of Use of Paris, and Use of Rome)

    French (Paris?); Italian (Bologna?) additions
    Medieval (Gothic)
    probably 1275–1300 (France), with additions in 1350–1400 (Italy)

    Place of Manufacture: possibly Paris, France; Place of Manufacture: possibly Bologna, Italy

    Description

    A Book of Hours with 203 folios and 8 leaves:

    ff. 1 - 12v: Calendar (added in Bologna, 2nd half 14th century)
    ff. 13 - 18: Calendar
    ff. 19 - 203v: Book of Hours
    (ff. 19 - 124v: Hours of the Virgin (variant of Use of Paris))
    (ff. 19 - 26v: Matins)
    (ff. 27 - 28: Matins, cont. (Use of Rome)) (added in Bologna, 2nd half 14th century)
    (ff. 46v - 58v: Lauds)
    (ff. 65 - 69: Terce)
    (ff. 69v - 73: Sext)
    (ff. 73v - 84: Verspers)
    (ff. 84 - 88v: Compline)
    (ff. 89 - 98v: Verspers, ant. “Dum esset” and following) (added in Bologna, 2nd half 14th century)
    (ff. 98v - 104v: Compline) (added in Bologna, 2nd half 14th century)
    (ff. 105 - 124v: Seasonal instructions) (added in Bologna, 2nd half 14th century)
    (ff. 125 - 139: Penitential Psalms)
    (ff. 139 - 144: Litany and prayers)
    (ff. 144 - 156: Fifteen Gradual Psalms)
    (ff. 156v - 203: Office of the Dead (Use of Paris))
    (f. 203v: [blank])

    Latin text (some French in calendar). 1 column of 13 lines of text. Bounding lines in blind or light plummet, full length to upper and lower edges, writing lines in blind or light plummet.

    Two cancels before f. 19, Italian bifolium inserted between ff. 26 and 29, quires 11-14 are Italian inserts. Several quires signed in first half with one to four or five symbols or slashes. Catchwords trimmed in French section, extant in lower center of last verso of each Italian quire. Italian calendar foliated by 16th- or 17th-century arabic hand on upper right rectoes as 3 - 14. Entire manuscript foliated in modern pencil with arabic numerals.

    French sections written in Gothic bookhand (calendar and text in different hands); Italian sections written in rotunda gothic by a single scribe, in black ink with red rubrics.

    Illumination in French sections as follows: One-line in-text initials alternate blue with red or gold with black/dark green filigree. Geometric line fillers in red and blue or gold and blue. Two-line initials throughout (also KLs in calendar, though slightly later) in blue and salmon with white filigree highlights on gold-leaf infill and foliate background in colors, half-length bar border in outer and lower margins with leafy finials in gold and colors, with dragons, grotesques, crowned heads, and chase-au-coin. Hours of the Virgin illustrated with combination of Infancy and Passion cycles, as follows (all are 7-line historiated initials unless otherwise indicated): f. 19 (half-page, Matins); the Annunciation: f. 46 (Lauds): The Betrayal; f. 59 (Prime): Christ before Pilate; f. 65 (Terce): Flagellation; 69v (Sext): Road to Calvary; f. 73v: (Nones): Crucifixion; f. 77v (Vespers): Deposition; f. 84 (Compline): Entombment. Folio 125 (half-page miniature, Penitential Psalms): John’s Second Vision (see Apocalypse 1:16), Christ enthroned, a double-edged sword in his mouth, with a candelabra on either side. F. 144 (5-line historiated initial, Gradual Psalms): female patron kneeling before altar. F. 156v (half-page miniature, Office of the Dead): funeral, in a church.

    Illumination in Italian sections as follows: one-line initials in-text alternate blue with red or gold with purple filigree; two-line initials throughout in light salmon with leafy extensions and infill in colors, on gold background, with a few acanthus leaves into margin in colors (light salmon predominates) with detached gold balls; F. 105v (8-line historiated initial with ¾-border of scolling acanthus, seasonal instructions): Annunciation.

    Binding: 2nd half 19th-century Italian white pigskin over boards blind-stamped with floral center- and corner-pieces. Spine in compartments, gold-stamped “M. S.” Black and white endbands at head and tail. Edges trimmed and speckled red. Paper pastedowns and endleaves, plus four vellum flyleaves in front and two in back.

    Produced in Northern France (Paris?) in the third quarter of the thirteenth century. The miniatures and historiated initials, in particular the bar-shaped marginal extensions, are typical of this period and region. Iconographically, however, the manuscript is unusual in several respects. The Passion cycle is often used in this period to illustrate the Hours of the Virgin, but the combination of the Infancy and Passion cycles in the present manuscript is uncommon. Even more unusual, possibly unique, is the illustration of the Penitential Psalms with the John’s Second Vision from Apocalypse 1:16, Christ enthroned with a double-edged sword in his mouth. This scene is rarely found outside of an Apocalyptic context, and its use here is noteworthy.

    The French calendar is slightly later than the manuscript (it includes St. Louis, can. 1297), and may have been added by the Italian binder. It is also Northern French, perhaps Parisian, almost entirely filled and including many saints of note (several of these dates are off by one day): in brown, or dark red, are several Saints of Parisian import: Maurus (15 Jan.), Genevieve (3 Jan.), Augustine of Canterbury (26 May), Gervasius (19 June), Leotfredus abb. Evreux (21 June), Fiacre (30 August), Leodegarus of Autun (2 Oct.)and Clement b. Metz (23 Nov.). Also in the calendar are notable Saints Sabinus b. Troyes (29 Jan.), Lucinius b. Angers (13 Feb.), Honorina (27 Feb.), Blanchart (11 March), Regulus b. Senlis (30 March), Walericus of Amiens (“Walerus,”12 Dec. and translation 1 April), Profert (18 April), Wandregisilus (“Wandrille,” 20 May), Arsenne (6 June), Cloust (7 September), Firminus of Amiens (25 Sept.), Quirinus (“Curien,” 13 Oct.), Lion (12 Nov.), Aignien (17 Nov.), among others. The St. Orace (presumably a St. Horatius) on 8 August has not been identified. In the litany are several Northern French saints of note, including: among the Martyrs: Mauricius and Eustachius (it is of course unclear which Eustachius is intended); among the Confessors: Robert, Maur, Philibert, and Amande: and among the Virgins: Radegundis.

    The Italian calendar and additions, 2nd half 14th century, were presumably added by the later binder, in part to bring the manuscript into Roman use. The calendar is North Italian (Bolognese?) and monastic, and includes Anthony (17 January, in red), Aquinas (6 March, can. 1323), Proculus b. Bologna (1 June), Anthony of Padua (13 June), Anacletus (13 July), Dominicus (5 August, in red), Ludovicus b. Toulouse (19 August, of Franciscan import, in red), Augustine (28 August, in red), Cerbonius (10 Oct.), Hilarion (21 Oct.), and Francis (4 Oct., in red).

    Provenance

    By 1895, Frances Davenport Bruen (Mrs. Charles C. Perkins; b. 1825 - d. 1909), Boston [see note 1]; 1909, to her son, Charles Bruen Perkins (b. 1860 - d. 1929) and his wife, Elizabeth Ward Perkins (b. 1873 - d. 1954), Boston; 1922, sold by Elizabeth W. Perkins to the MFA for $1500 [see note 2]. (Accession Date: March 2, 1922) NOTES: [1] From 1895 until 1909, this manuscript was on loan to the MFA from Mrs. Charles C. Perkins. Following her death, ownership was transferred to her son and heir Charles B. Perkins. [2] MFA accession numbers 22.375-22.379 were purchased together for $1500.

    Credit Line

    Frank S. Adams Fund

    Details

    Dimensions

    Overall (page dimensions): 13.5 x 9.6 cm (5 5/16 x 3 3/4 in.) Other (Italian section; page dimensions): 7.5 x 5.5 cm (2 15/16 x 2 3/16 in.)

    Accession Number

    22.376

    Medium or Technique

    Tempera, ink, pencil (modern), and gold on parchment; bindings of pigskin over boards, with gold

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  • Psalter (volume 2 of 2)

    Southern Netherlandish (Bruges)
    Medieval (Gothic)
    mid-15th century

    Place of Manufacture: Europe, Bruges, Flanders, South Netherlands

    Description

    Volume 2 of a two-volume psalter (containing a collection of Psalms), this volume comprising 112 folios (ff.) and 4 leaves.

    ff. 1 - 84: Psalms 80-150
    ff. 84v - 103: Canticles [Six ferial canticles (Confitebor, Ego dixi, Exultavit cor meum, Cantemus domino, Domine audivi, Audite celi), Te deum, Benedicite omnia opera, New Testament Canticles (Benedictus deus israhel, Magnificat, Nunc dimittis), Athanasian creed (Quicumque vult salvus)]
    ff. 103 - 108v: Litany and prayers

    1 column of 21 text lines in Latin. Bounding lines blind, or purple or red plummet, full-length to top and bottom edges, writing lines blind or light purple or red plummet, first and last line full-length to outer margins. Modern arabic pencil foliation.

    Written in a Gothic cursive in black ink. Psalm and canticle initials 2-line gold with salmon and blue infill and background, with white filigree, verse initials 1-line alternating blue with red, or gold with blue, line fillers in colors. Three ¾-page arch-topped miniatures in burnished gold frame with full borders of scrolling acanthus in colors with grotesques and gold leaves (see notes field for descriptions). One 11-line historiated initial in gold and colors with ¾-page border as above: f. 84v (Canticle of Isaiah, Is. 12:1-6): David striken in years - David elderly, crowned, and bedridden, attended by Nathan.

    Binding: 18th-century red morocco over pasteboard, gilt corner stamps and fillet border on both covers. Gilt filigree turn-ins. Marbled pastedowns and endleaves. Paper flyleaves (no watermarks). Spine gilt with filigree, brown leather gilt title panel reads “Paslter/Davidi/Tom./II”, all edges gilt. Light blue thread endbands.

    Inscription

    Bookplate of Matthias Bruen (1793 - 1829, New York City, NY), with arms and motto "Fides scutum" inside front cover, his signature on f. 108v, "M. Bruen/ Brighton House".

    Provenance

    After 18th century, separated from first volume [see note 1]. By 1829, Matthias Bruen (1793 - 1829), New York [see note 2]; By 1895, by descent to his daughter Frances D. Bruen (Mrs. Charles C. Perkins) (d. 1909); 1909, by descent to her son Charles B. Perkins [see note 3]; 1922, sold by Charles B. Perkins to the MFA for $1500 [see note 4]. (Accession Date: March 2, 1922) NOTES: [1] The first volume of the set is in the same style binding as the MFA volume. The two volumes were separated sometime after they were bound in the 18th-century. [2] Bookplate of Matthias Bruen, with arms and motto "Fides scutum" inside front cover, his signature on f. 108v, "M. Bruen/ Brighton House." [3] Lent by Mrs. Charles C. Perkins to the MFA, November 27, 1895. After her death, this manuscript was transferred to her son, Charles B. Perkins, and returned to him on March 23, 1921. [4] MFA accession numbers 22.375-22.379 were purchased together for $1500.

    Credit Line

    Frank S. Adams Fund

    Details

    Dimensions

    Overall (page dimensions): 11.7 x 8.2 cm (4 5/8 x 3 1/4 in.)

    Accession Number

    22.377

    Medium or Technique

    Tempera and ink and pencil (modern) with gold on parchment; bindings of red morocco over pasteboard with gilding and light blue thread endbands

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  • Book of Hours (Use of Rome)

    Flemish (probably Bruges)
    Medieval (Gothic)
    about 1433–66

    Place of Manufacture: Bruges (?), Flanders, modern Belgium

    Description

    A Book of Hours comprising 3 leaves and 197 folios (ff.):

    ff. 1 - 6v: Calendar (lacking January-Feb. 15, April 16-June 15, and November 16-December 31)
    ff. 2 - 29v: Hours of the Passion [begins imperfectly]
    ff. 30 - 36v: Hours of the Cross
    ff. 37 - 38v: [originally blank, with later pen trials]
    ff. 39 - 45v: Mass of the Virgin
    ff. 46 - 51v: Gospel readings
    ff. 52 - 128v: Hours of the Virgin
    (ff. 52 - 63v: Matins [begins imperfectly])
    (ff. 64 - 75v: Lauds [begins imperfectly])
    (ff. 76 - 82v: Prime)
    (ff. 83 - 88v: Terce)
    (ff. 89 - 91v: Sext [ends imperfectly])
    (ff. 92 - 95v: None [begins imperfectly])
    (ff. 96 - 105v: Vespers)
    (ff. 106 - 111[b]v: Compline)
    (ff. 112 - 128: Seasonal instructions)
    ff. 129 - 149v: Penitential psalms and litany
    ff. 150 - 194: Office of the Dead (Use of Rome) [ends imperfectly]

    1 column of 15 text lines, in Latin. Bounding lines in light red plummet, full-length to all edges, writing lines in light red plummet.

    Lacking at least three leaves at the front, three leaves after folio 2, two leaves after folio 6, three leaves before folio 7 in the next quire, one leaf (a miniature) before f. 52, two leaves (including a miniature) before f. 64, three leaves (including a miniature) after f. 91, one folio (a miniature) before f. 92 in the next quire, two leaves (including a miniature) before f. 129, and at least two leaves at the back, all remaining miniatures are singletons, with other singletons used to complete texts at the end of a quire. Catchwords mostly trimmed, partially visible in lower right corner of last verso of several quires (e.g. f. 99v, 135v) in light brown Gothic cursive. Foliation in modern pencil in upper right corner of rectos, skips several numbers so reaches 194 instead of 197 (but those numbers used above for reference).

    Written in a rounded Gothic bookhand by a single scribe in black ink with red rubrics. KLs and two-line initials throughout in gold filled with salmon and surrounded by blue (or vice versa) with white highlights, vines and gold leaves with flowers in colors into margin. In-text initials alternate blue with red filigree or gold with blue. Eleven 8-line initials in blue on salmon background with white highlights in a gold frame with gold background infill with salmon vines and orange/blue flowers, gold bar in inner margin and across lower, 3/4 borders of black vines and gold leaves with green leaves and flowers at the beginning of each Hour of the Passion and of the Virgin. Similar on ff. 31, 39, and 150, but with full border and full frame (at the opening of the Hours of the Cross, the Mass of the Virgin, and the Office of the Dead).

    Six full-page miniatures (Passion Cycle, for the Hours of the Virgin), each in an arched double fillet gold frame, full border of leafy sprays with acanthus in corners, gold leaves and flowers and fruit in colors. Background buildings in exterior scenes are consistently white with red roofs, and haloes are red stripes over gold leaf. Several outdoor scenes are characterized by a wavy white line in the grass, perhaps a brook.

    Binding: 19th-century diced Russian brown leather over boards, blind- and roll-stamped, fleur-de-lis device in corners, triple-fillet border around waved roll-tool. Spine in compartments with fleur-de-lis in center, edges dyed red, damaged at head and tail, paper pastedowns and flyleaves (reddened), corners bumped.

    Inscription

    A 16th-century signature on f. 63v, "Giordano,"

    Provenance

    Mid-15th century, produced in Flanders, probably Bruges, possibly for export to Italy [see note 1]. Possibly, in the 16th century, in Italy [see note 2]. By 1895, Mrs. Charles C. Perkins (Frances D. Bruen) (d. 1909) [see note 3]; 1909, by inheritance to her son, Charles B. Perkins [see note 4]; 1922, sold by Charles B. Perkins to the MFA for $1500 [see note 5]. (Accession date: March 2, 1922) NOTES: [1] The hand is slightly Italianate, and the book may have been produced for export - the use is of Rome. [2] A sixteenth-century signature on f. 63v, "Giordano," may indicate a later Italian provenance. [3] On loan to the MFA from Mrs. Charles C. Perkins from November 27, 1895 until her death in 1909. [4] Relent to the MFA by Charles B. Perkins from March 23, 1921. [5] MFA accession numbers 22.375-22.379 were purchased together for $1500.

    Credit Line

    Frank S. Adams Fund

    Details

    Dimensions

    Overall (page dimensions): 9.9 x 6.9 cm (3 7/8 x 2 11/16 in.)

    Accession Number

    22.378

    Medium or Technique

    Tempera, ink, and pencil (modern) with gold on parchment; bindings of leather over boards

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  • Penitential Psalms, Litany, and Other Prayers

    Italian (Venice)
    Medieval (Late Gothic)/early Renaissance
    about 1480
    Attributed to Pico Master (Italian (active in Venice), 1475–1500)

    Place of Manufacture: Europe, Venice, Italy

    Description

    A book of Penitential Psalms, the Litany, and other prayers with 92 folios (ff.) and 7 leaves.

    f. 1 (slightly later addition): Pateant aures misericordiae tuae…
    f. 1v: blank
    ff. 2 - 3: St. Jerome, on the Seven Penitential Psalms
    f. 3v: blank
    ff. 4 - 28: 7 Penitential Psalms
    ff. 28 - 55v: Litany and prayers
    ff. 56 - 70: Indulgences, beginning with Italian rubric: “Sancto gregorio e molti altri summi pontifici a tuti quelli che seranno veramente confessi e pentidi…”
    (ff. 59v - 60v: “Anima Christi” with Italian rubric “Papa Giovanni XXII…”)
    (ff. 61 - 65: “Domine Jesu Christe fili dei vivi” with Italian rubric “Bonfacio papa quarto concesse a tutti…”)
    (ff. 65v - 68v: “Precor te dulcissime et amantissime…”)
    (ff. 68v - 70v: “Amantissime domine iesu christe qui de celo…” with Italian concluding rubric “Ca da uno che dira la infrascripta oratione ha vera per cadauna volta…”)
    ff. 70v - 75: [The Seven Last Words of Our Lord]: “Domine iesu christe fili dei vivi qui septem verba in ultimo die…”
    ff. 75 - 76: Italian rubric: “Honorio papa concesse du sento giorni de indultentia…”
    ff. 76 - 81: “Ave dei genetrix” (with each word from “Ave Maria” in gold
    ff. 81 - 84: John 19:1 - 21:24 (The Passion according to St. John)
    ff. 84 - 85v: “Oratio. Deus qui manus tuas et pedes tuos…”
    ff. 85v - 91: “Mane cum surrexero intende ad me…” with Italian rubric “Oratione de sancto Hieronimo la quale da dire la matina…”
    ff. 91v - 92v: “Oratio devotissima. Domine ihesu criste rex gloriae libera animas…/…fac eas domine de monte transire ad vitam./Per Christum dominum nostrum/Amen.”

    1 column of 9 text lines in Latin and Italian. Bounding lines single brown plummet, full-length to top and bottom, writing lines brown plummet. Catchwords in lower center margin, last verso of each quire. Some leaves foliated in early pencil - begins with [1] on fourth flyleaf, so reaches 93 instead of 92.

    Written in an Italian rotunda script in brown ink with brown (mostly italian) rubrics, some faded. Two 4-line historiated initials attributed to the Pico Master (active Venice about 1475-1500); f. 2 (Jerome’s Prologue): St. Jerome reading at the foot of a red [S] as two fish hanging from a green wall, his hat hanging at the top; f. 4 (Penitential Psalms): David, in blue and red robes with gold highlights, seated on a cushion in an interior with red walls, white arches at left, playing lyre. At the top margin, the holy spirit as a dove. “D” hangs on red wall in background. Plams and prayers being with 2-line gold initials inscribed in square frame filled with blue, green, and dark red panels with white filigree. 1-line initials throughout in red or blue.

    Provenance

    Frances D. Bruen (Mrs. Charles C. Perkins)(d. 1909) [see note 1]; 1909, by descent to her son Charles B. Perkins [see note 2]; 1922, sold by Charles B. Perkins to the MFA for $1500 [see note 3]. (Accession date: March 2, 1922) NOTES: [1] It is possible that Frances D. Bruen inherited the manuscript from her father, Matthias Bruen (1793 - 1829), New York City, NY, although the manuscript does not hold his bookplate or signature. [2] Lent by Mrs. Charles C. Perkins to the MFA, November 27, 1895. After her death, this manuscript was transferred to her son, Charles B. Perkins, and returned to him on March 23, 1921. [3] MFA accession numbers 22.375-22.379 were purchased together for $1500.

    Credit Line

    Frank S. Adams Fund

    Details

    Dimensions

    Overall (page dimensions): 11.3 x 7.9 cm (4 7/16 x 3 1/8 in.)

    Accession Number

    22.379

    Medium or Technique

    Ink and pencil (early) with gold on parchment; bindings of french black morocco with gilding

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  • Ferial Psalter and Hymnal (Franciscan Use)

    Italian (Padua)
    Medieval (Late Gothic)/early Renaissance
    1475

    Place of Manufacture: Padua, Italy

    Description

    Ferial psalter (a collection of Psalms for daily use) and hymnal written for Franciscan use, with 190 folios (ff.):

    ff.1-128: Ferial psalter
    ff. 129-190: Hymnal (Temporale, Sanctorale, Commons)

    1 column of 14 text lines in Latin, 5 staves of music. Bounding lines blind or light plummet, sometime full-length to upper edge, writing lines blind or light plummet. Square, hightened neumes on 4-line red staff, c-clef indicated.

    Lacking one illuminated leaf after f. 3, out-of-sequence single illuminated leaves by the same scribe and artist inserted after folios 133, 140, and 176. Codicologically, the manuscript consists of three sections: Sections 1 and 3 (quires 1-7 and 16-20, i.e. ff. 1-61 and 129-190) share the same scribe and artist and have catchwords in lower center of final verso of each quire, some of which have been effaced to avoid mis-match with inserted leaves (e.g. following f. 140). Section 2 (quires 7-14, i.e. ff. 62-128) is foliated by a contemporary hand in red arabic numerals in center of upper margin as I-LXVI (repeats “XLII”, “XLIII”, and “XLVI”, but corrects itself at f. 50, so reaches “LXVI” on f. 128). 17th-century foliation throughout in black ink, arabic numerals, upper margin of each recto, begins with “12” on f. 11 and does not include inserted leaves, used here for reference. The three inserted singletons retain the foliation from their original context (called “265”, “181”, and “159” respectively).

    Written in a Rotunda script in black ink with red rubrics. Eight 5-line initials, foliate in colors on gold background with acanthus into margin and large gold balls with rays: seven five-line foliate initials in colors on gold background with acanthus into margin and gold balls with rays, some with cornucopias, flowers, or fruit infill, on ff. 1, 40, 51v, 129, after 133, after 140, and after 159 (the last three are singletons by the same scribe and artist, probably inserted from another volume of the set). At least one initial lacking, after f. 3, presumably the [B] of Psalm 1 - offset of gold balls visible on f. 3v. On folios 1 - 61 and 129 - 190, the Psalms and hymns begin with a three-line filigree initial in red with purple or blue or blue with red, with some gold, and white highlighting. Verse initials alternate red and blue. On ff. 62 - 128, psalm initials alternate red followed by black with red filigree or blue followed by black with yellow filigree.

    Binding: Original diced calf over thick boards, bronze floral centerpiece on upper cover, bronze cornerpieces, mid-board supports, edge guards (some lacking), and support plate along lower edge of lower board, bronze-framed title etiquette in center of lower cover (63 x 40 mm) reads “Nocturn[ale] et/ comm[unale] sanctorum”.

    Inscription

    Rubric on f.1 refers to Padua and provides date of 1475 for this manuscript : "Ad homorem omnipotentis dei et beatae marie virginis et beati francisci. Incipit psalterium nocturnum cum humnario Anno domini Mccccolxxv [1475].../ Primo die quo trinitas beata mundum condidit.../...fidelibus audi precantem. Didacum amen./ Restauravit F[ratus] Carolus Padovino Prov[incia]e Ref. Rozane Anno domini m[effaced]." The inscription at the end of the manuscript states that it was repaired by one Brother Carolus of Padua in 1504 or 1514 (the date is faded). The 16th-century inscription on f. 191v is illegible.

    Provenance

    By 1929, Denman W. Ross (1853-1935), Cambridge, MA; 1929, gift of Denman W. Ross. (Accession date: March 7, 1929)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 56.5 x 41 cm (22 1/4 x 16 1/8 in.)

    Accession Number

    29.800

    Medium or Technique

    Tempera and ink with gold on parchment; bindings of calfskin over boards and bronze cornerpieces

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  • Gradual (Carmelite Use)

    Spanish
    Renaissance
    16th century with 18th–century A.D.ditions

    Place of Manufacture: Spain

    Description

    A gradual (a collection of responses and versicles for the Epistle readings, with Introits, Alleluias, Offertories, and Communions for Mass) with 68 folios (ff.) and 1 leaf.

    ff. 1 - 39: Commons (16th-century)
    ff. 40 - 68: Sanctorale (18th-century addition): St. Joseph, St. Felix of Catalicio, apparition of Santiago, San Juan Capistrano

    1 column of 8 staves in Latin (f. 40 ff., 5 staves). Bounding lines on paper pastedown leaves only, in black ink, doubled to all edges except upper. Some prickings preserved in outer margin for staves. ff. 1 - 39: square, heightened neumes, red 4-line staff, with c-clef indicated; ff. 40 ff.: same, but with accidentals and performance notes (18th-century).

    Lacking 16 folios at front, 1 leaf lacking after f. 39, lacking seven leaves after f. 68 and at least two leaves at back (the final quire consists of two stubs plus six cancels). ff. 1-18 foliated by original hand (effaced or pasted over) in red roman numerals, upper right recto, as XVII - XIX, XXI, XXII - XXXIII, XXXVI - XXXVII, XL; ff. 1-16, and 19-20 foliated by the pastedown scribe in red arabic numerals, upper right recto, as 61-76 and 78-79; ff. 40-68 (18th-century section) foliated by contemporary hand in black ink arabic numerals as 1-28, 36.

    Written in a Rotunda script in black ink with red rubrics. ff. 1-18 (paper pastedown leaves): 1-staff high initials throughout alternating red and black with some green; ff. 19-39: 2-staff high initials throughout alternating red and blue, or red, one-staff high initials in red, blue or yellow wash; ff. 40-68 (18th-century): 1-staff high initials throughout in gold on dark red foliate background, or blue on gold, or red and purple, one-staff high initials throughout in fractura with red and green wash.

    Binding: Original (spine width too large for current contents) black calf over boards, heavily rubbed with some red rot, bronze floral bosses and cornerpieces, strap pieces and catches. Lower leather strap extant. Spine leather attached with nails. Parchment pastedowns and final fly from 15th-century choirbook. Title label in leather on spine, illegible. Tabs throughout along outer leaf edges, marking major mass incipits.

    Original index of contents by genre pasted-down to verso of final flyleaf, with later additions and corrections. A paper-pastedown table-of-contents at the back of the volume lists the sanctorale contents of the section added in the 18th century, which included St. Joseph, St. Felix of Catalicio (can. 1709), St. Juliana Falconeris (can. 1737), St. Luis Gonzaga (can. 1726), Our Lady of Carmen, San Juan Capistrano, and the apparition of Santiago.

    Provenance

    1929, Walter Gay (b. 1856 - d. 1937), Paris; gift of Walter Gay to the MFA. (Accession Date: September 5, 1929)

    Credit Line

    Gift of Walter Gay

    Details

    Dimensions

    Overall (page dimensions): 63 x 40.5 cm (24 13/16 x 15 15/16 in.)

    Accession Number

    29.1027

    Medium or Technique

    Tempera, ink (some modern), and gold on parchment (ff. 1-39, paper pasted over older, reused parchment); bindings of black calfskin over boards, with bronze

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  • Bible

    French (possibly Paris)
    Medieval (Gothic)
    mid-13th century

    Place of Manufacture: Paris (?), France

    Description

    Bible with 523 folios (ff.) and 8 leaves:

    ff. iiiv-ivv: Table of contents (added in 15th century)
    ff. 1-485: Bible, Old and New Testaments, most with the common set of prologues:
    Pentateuch; Genesis; Joshua; Judges; Ruth; Kings I-IV; I Chron.; II Chron.; Ezra; Nehemiah; “II Ezra” [= III Ezra]; Tobias; Judith; Esther; Job; Psalms; Proverbs; Ecclesiastes; Cantica Canticorum; Sapientia (addition in lower ,argin in 14th-century hand); Ecclesiasticus (“Multorum nobis et magnorum,” biblical introduction to Ecclesiasticus, treated as a prologue); Isaiah; Jeremiah; Lamentations; Baruch; Ezechiel; Daniel; Minor Prophets; Hosea; Joel; Amos; Obadiah; Jonah; Micah; Nahum; Habbacuc; Zephaniah; Haggai; Zacharias; Malachi; Maccabees; II Macc.; Matthew; Mark; Luke (Luke 1: 1-4, treated as a prologue); John; Romans; I Cor.; II Cor.; Galatians; Ephesians; Phillipp.; Collosians; I Thess.; II Thess.; I Timothy; II Timothy; Titus; Philemon; Hebrews; Acts; Canonical epistles; James; I Peter; II Peter, I John, II John, III John, Jude; Apocalypse.
    ff. 485v- 522: Jerome’s index to the Bible

    2 columns of 50 text lines in Latin. Bounding lines in black plummet full-length to upper and lower edges and to inner and outer edges for headings, writing lines in black plummet, prickings extant in upper and lower margins for bounding lines.

    No signatures or catchwords. Contemporary French Roman numerals in upper left corner of each verso in brown ink, uses several numbers twice and skips others, so reaches 522 instead of 523 (numbers as written used above for reference).

    Written in a Scholastic bookhand in black ink with red rubrics. f. 1 recto, 8-line initial [F] in blue with serpentine infill in colors; f. 4 recto, full-length [I] in colors; 4- to 11-line initials throughout for book and prologue initials, in blue and red with blue and red infill and blue, red, and green harping into margin. Occasionally, the artist has supplied the wrong letter (e.g. f. 360 verso, where the artist has drawn [A] instead of the required [T]). Chapter initials throughout 2-line alternating red with blue and green filigree and blue with red filigree. Psalm divisions 6- to 8-line initial in colors with serpentine infill. In-text initials alternate red and blue.

    Binding: 19th-century blind- and gilt-rolled and stamped brown morocco over boards; spine gilt in compartments with gilt-stamped title “BIBLE/ M.S.”, gilt fillet board edges and turn-ins, marbled endpapers and flyleaves, all edges gilt.

    Inscription

    Signed by two 19th-century : "Shillabar" and "Dr. Hunt, Nov. 1891."

    Provenance

    19th century, Shillaber [with signature]. By November 1891, with Dr. Hunt [with his signature "Dr. Hunt, Nov. 1891"]. By 1934, with Denman W. Ross (1853-1935), Cambridge, MA; 1934, gift of Denman W. Ross. (Accession date: April 5, 1934)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 16.5 x 12 cm (6 1/2 x 4 3/4 in.)

    Accession Number

    34.146

    Medium or Technique

    Tempera and ink (some modern) on parchment; bindings of brown morocco over boards with gilding

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  • Life of Christ (final volume of set)

    Vita christi

    Italian (Ferrara)
    Medieval (Late Gothic)/early Renaissance
    about 1450–75
    Author of text Ludolf von Sachsen (German, 1300–1377 or 1378)

    Place of Manufacture: Ferrara, Italy

    Description

    Book with 2 leaves and 137 folios (ff.) Text comes from Ludolf von Sachsen’ Life of Christ, a meditation on the Life of Christ that includes doctrinal, spiritual, and moral instructions and prayers.

    2 columns of 48 text lines in Latin. Bounding lines brown plummet, full-length to upper and lower edges, writing lines blind-ruled or in light plummet, some prickings preserved in lower margin for bounding lines.

    Final three leaves cancelled. Catchwords in center lower margin or last verso of each quire, in decorative filigree frame.

    Written in Italian Gothic bookhand in brown ink, red rubrics. f. 1 recto: 14-line [N] historiated with praying Carthusian (Ludolphus) with head of God in upper right corner, in colors, with full border of scrolling acanthus and flowers and gold berries, full-length gold bars between columns and in outer margin. Monogram [CART] (for “Cartusia”), used at the Certosa of Ferrara, in lower margin in gold and colors. Three-line chapter and prayer initials alternating blue with red harping and red with purple harping. Paragraph marks alternate red and blue.

    Provenance

    3rd quarter of the 15th century, written at the Carthusian Certosa di San Cristofori, Ferrara, Italy [see note 1]. By 1938, with George Harold Edgell (1887-1954) [see note 2]; gift of George Harold Edgell. (Accession Date: April 14, 1938) NOTES: [1] Compare with Milan, Bibl. Trivulzia cod. 1440, which has the same monogram and is from the Certosa. Also, see Porro, G. Catalogo dei Codici Manoscritti della Trivulziana (Biblioteca Storica Italiana II:1) (Turin, 1884), p. 135, Cod. 1440, for description of the monogram. [2] George Harold Edgell served as director of the MFA from 1934 until 1954.

    Credit Line

    Gift of George Harold Edgell

    Details

    Dimensions

    Overall (page dimensions): 33.2 x 22.8 cm (13 1/16 x 9 in.)

    Accession Number

    38.88

    Medium or Technique

    Tempera, ink, and gold on parchment; bindings of vellum over paste-boards with ink on spine and paper pastedowns and flyleaves

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  • Initial "H" with St. Martin and the Beggar (Cutting from an Antiphonary)

    Italian (Siena?)
    Medieval (Gothic)
    early 14th century
    Attributed to Memmo di Filippuccio

    Place of Manufacture: possibly Siena, Tuscany, Italy

    Description

    A cutting from an antiphonary (or a book containing the sung portions of the Divine Office), an historiated letter “H,” with St. Martin giving his cloak to the beggar, on the recto. The illumination depicts the first nocturn of Matins for the office of St. Martin of Tours (11 November): recto: [R.] H[ic est Martinus…]…; verso: [A. Martinus adhuc catechumenus] me veste contexit/ [A.] Sanctae trinitatis fidem [Mar]tinus confessus….

    A cutting with 3 partial staves on verso with text in Latin. Bounding and writing lines in blind. Heightened square neumes on a four-line staff (no clef extant). Written in a Rotunda script in black ink.

    Provenance

    By 1938, Mr. and Mrs. Edward Jackson Holmes [see note 1]; 1941, gift of Mrs. Edward Jackson Holmes. (Accession date: December 11, 1941) NOTES: [1] In 1938 and again in 1940-41, this book was on loan to the MFA from Mr. and Mrs. Edward Jackson Holmes.

    Credit Line

    Gift of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    Overall: 17.6 x 18.2 cm (6 15/16 x 7 3/16 in.)

    Accession Number

    41.908

    Medium or Technique

    Tempera, ink and gold on parchment

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  • Annunciation to the Shepherds (Opening of Terce, Hours of the Virgin)

    French (Paris)
    Medieval (Gothic)
    about 1400
    Workshop of Jacquemart de Hesdin (French, active in Paris in 1380–1411)

    Place of Manufacture: Paris, France

    Description

    A miniature from a Book of Hours depicting in the foreground two shepherds in red and blue with staves gaze heavenward while their flock grazes at the right and a gray dog lies curled at their feet. A winding road leads to the back of the scene, along which stands a small white cross. On the road a man drives a laden donkey toward a windmill. An angel hovers at the top of the scene holding a banderole.

    Provenance

    Until 1943, Miss E. M. Ranshaw (d. by 1943), London; February 9, 1943, posthumous Ranshaw sale, Sotheby's, London, lot 106, to Raphael Rosenberg [see note 1]; sold by Raphael Rosenberg to his brother, Saemy Rosenberg, Rosenberg and Stiebel, New York; 1943, sold by Rosenberg and Stiebel to the MFA for $2500 [see note 2]. (Accession Date: October 14, 1943) NOTES: [1] Miss Ranshaw had owned a total of sixteen miniatures from the same Book of Hours, which were sold together in 1943. Grete Ring, Arthur Kauffmann, and Raphael Rosenberg bought them, acquiring four leaves each (selling the remaining four leaves to a private collector, F. Springell). The four leaves acquired by Rosenberg are MFA accession numbers 43.212 - 43.515. [2] MFA accession numbers 43.212 - 43.215 were acquired together for this price.

    Credit Line

    Helen and Alice Colburn Fund

    Details

    Dimensions

    Overall: 10.2 x 5.8 cm (4 x 2 5/16 in.)

    Accession Number

    43.212

    Medium or Technique

    Tempera and gold on parchment

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  • The Betrayal (Opening of Lauds, Hours of the Cross)

    French (Paris)
    Medieval (Gothic)
    about 1400
    Workshop of Jacquemart de Hesdin (French, active in Paris in 1380–1411)

    Place of Manufacture: Paris, France

    Description

    Miniature from a Book of Hours depicting in the center of the scene, Judas, at left, kisses Christ’s cheek as the armed High Priest and his servants move in from the right to seize him. Christ heals the ear of kneeling Malchus, who holds a club and wears a wide mantle spread on the ground. A crowd of apostles stands at the left of the scene, balancing the crowd of servants at the right. The apostle Peter stands at the front of the crowd, sheathing the sword with which he cut off Malchus’ ear. A figure in the back of the crowd holds aloft a lantern against the diapered background.

    Provenance

    Until 1943, Miss E. M. Ranshaw (d. by 1943), London; February 9, 1943, posthumous Ranshaw sale, Sotheby's, London, lot 106, to Raphael Rosenberg [see note 1]; sold by Raphael Rosenberg to his brother, Saemy Rosenberg, Rosenberg and Stiebel, New York; 1943, sold by Rosenberg and Stiebel to the MFA for $2500 [see note 2]. (Accession Date: October 14, 1943) NOTES: [1] Miss Ranshaw had owned a total of sixteen miniatures from the same Book of Hours, which were sold together in 1943. Grete Ring, Arthur Kauffmann, and Raphael Rosenberg bought them, acquiring four leaves each (selling the remaining four leaves to a private collector, F. Springell). The four leaves acquired by Rosenberg are MFA accession numbers 43.212 - 43.515. [2] MFA accession numbers 43.212 - 43.215 were acquired together for this price.

    Credit Line

    Helen and Alice Colburn Fund

    Details

    Dimensions

    Overall: 10.2 x 5.8 cm (4 x 2 5/16 in.)

    Accession Number

    43.213

    Medium or Technique

    Tempera and gold on parchment

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  • The Descent from the Cross (Opening of Vespers, Hours of the Cross)

    French (Paris)
    Medieval (Gothic)
    about 1400
    Workshop of Jacquemart de Hesdin (French, active in Paris in 1380–1411)

    Place of Manufacture: Paris, France

    Description

    Miniature from Book of Hours depicting a man in a red tunic and blue cap (Nicodemus?) stands on a ladder leaning against the cross, passing the body of Christ to a man in a blue tunic with a red belt and purse (Joseph of Arimathea?) who stands to the left of the cross. Behind him, the Virgin Mary (in blue), Mary Magdalene (in beige), and apostles, all against a diapered background.

    Produced in Paris, probably by the atelier of Jacqumart de Hesdin around the year 1400.

    Provenance

    Until 1943, Miss E. M. Ranshaw (d. by 1943), London; February 9, 1943, posthumous Ranshaw sale, Sotheby's, London, lot 106, to Raphael Rosenberg [see note 1]; sold by Raphael Rosenberg to his brother, Saemy Rosenberg, Rosenberg and Stiebel, New York; 1943, sold by Rosenberg and Stiebel to the MFA for $2500 [see note 2]. (Accession Date: October 14, 1943) NOTES: [1] Miss Ranshaw had owned a total of sixteen miniatures from the same Book of Hours, which were sold together in 1943. Grete Ring, Arthur Kauffmann, and Raphael Rosenberg bought them, acquiring four leaves each (selling the remaining four leaves to a private collector, F. Springell). The four leaves acquired by Rosenberg are MFA accession numbers 43.212 - 43.515. [2] MFA accession numbers 43.212 - 43.215 were acquired together for this price.

    Credit Line

    Helen and Alice Colburn Fund

    Details

    Dimensions

    Overall: 10.2 x 5.8 cm (4 x 2 5/16 in.)

    Accession Number

    43.214

    Medium or Technique

    Tempera and gold on parchment

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  • The Entombment (Opening of Compline, Hours of the Cross)

    French (Paris)
    Medieval (Gothic)
    about 1400
    Workshop of Jacquemart de Hesdin (French, active in Paris in 1380–1411)

    Place of Manufacture: Paris, France

    Description

    Miniature from Book of Hours depicting the body of Christ rests on the coffin lid, set slant-wise across the gaping sepulchre. Mary Magdalene, clothed as in 43.214, stands behind the coffin, kissing Christ’s left hand. The lid is supported at the foot by a kneeling robed figure, while Mary Magdalene is flanked by two male figures (possibly Joseph of Arimathea and John the Baptist). At the lower right corner of scene, the Virgin Mary sits in mourning, head resting on crossed arms. Background of gold-scrolls on blue.

    Produced in Paris, probably by the atelier of Jacqumart de Hesdin around the year 1400.

    Provenance

    Until 1943, Miss E. M. Ranshaw (d. by 1943), London; February 9, 1943, posthumous Ranshaw sale, Sotheby's, London, lot 106, to Raphael Rosenberg [see note 1]; sold by Raphael Rosenberg to his brother, Saemy Rosenberg, Rosenberg and Stiebel, New York; 1943, sold by Rosenberg and Stiebel to the MFA for $2500 [see note 2]. (Accession Date: October 14, 1943) NOTES: [1] Miss Ranshaw had owned a total of sixteen miniatures from the same Book of Hours, which were sold together in 1943. Grete Ring, Arthur Kauffmann, and Raphael Rosenberg bought them, acquiring four leaves each (selling the remaining four leaves to a private collector, F. Springell). The four leaves acquired by Rosenberg are MFA accession numbers 43.212 - 43.515. [2] MFA accession numbers 43.212 - 43.215 were acquired together for this price.

    Credit Line

    Helen and Alice Colburn Fund

    Details

    Dimensions

    Overall: 10.2 x 5.8 cm (4 x 2 5/16 in.)

    Accession Number

    43.215

    Medium or Technique

    Tempera and gold on parchment

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  • Book of Hours (for Female Use)

    French (possibly Amiens)
    Medieval (Gothic)
    mid-15th century

    Place of Manufacture: probably Amiens, France

    Description

    Book of Hours with 195 folios (ff.):

    ff. 1 - 6v: Calendar
    ff. 7 - 12: Gospel readings
    ff. 12v - 13v: [blank]
    ff. 14 - 35v: Hours of the Days of the Week
    (ff. 14 - 17v: [Hours of the Trinity, for Sunday])
    (ff. 17v - 20: [Hours of the Dead, for Monday])
    (ff. 21 - 23: [Hours of the Holy Spirit, for Tuesday, begins imperfectly])
    (ff. 23 - 26: [Hours of All Saints, for Wednesday])
    (ff. 26 - 29: [Hours of the Sacrament, for Thursday])
    (ff. 29 - 32: [Hours of the Cross, for Friday])
    (ff. 32v - 35v: [Hours of the Virgin, for Saturday])
    ff. 36 - 41v: Abbreviated temporale offices, in the format of Suffrages
    ff. 42 - 44v: Seven Last Words of Our Lord
    ff. 44v - 76v: Prayers, in Latin and French
    ff. 77 - 82v: Litanies (prose and metric) and prayers
    (ff. 78v - 82v: Prayers, in Latin)
    ff. 82v - 85v: Prayer of St. Augustine
    ff. 85v - 88: “Orison a nostre seigneur/ Mon trespuissant createur tres dous et tres debonaire…”
    ff. 88 - 94v: Prayers for Communion, in French
    ff. 94v - 106v: Brief prayers to “nostre seigneur” and “nostre dame,” including a prayer “Contre tonnoire” (f. 99v): “Mentem sanctam spontaneam et honorem…”
    ff. 107 - 137v: Prayers to the Virgin Mary, in French
    (ff. 136v - 137v: [blank])
    ff. 138 - 167: Suffrages
    ff. 167 - 171: Hours of St. Catherine
    ff. 171 - 174: Suffrages
    ff. 174 - 174v: Metric prayer to St. Avia, in French
    ff. 175 - 175v: Suffrage to St. Avia
    ff. 176 - 176v: Suffrage to St. Augustine of Hippo
    ff. 177 - 178v: Suffrages for Common of Virgins
    ff. 178v - 184: Prayer of Blessed Peter of Luxembourg
    ff. 184v - 188: Mass to ward off the plague: “Missa contra pestem epidimie”
    ff. 188 - 195: Later additions, in French
    (ff. 188 - 190: Sachies certainement que il vest coze plus convenable a noble creature…/…amours cest li sains esperis qui est li amours du pere et du fil.)
    (f. 190v: On scet per IIII cozes quant dieux est glorefies en lame…/…pour nulle sustraction.)
    (ff. 190v - 192: Les XX poins/ Tant que propos de vous retrire…/…et que pour lun de ces XX poins.)
    (ff. 192v - 195: Chi apries sensievent IX biens fais li quell plaisent a dieu…/Donnes 1 denier pour lamour…/..et tu cascun iour la rousaisse de cler sanc de ton corps.)
    f. 195v: [blank]

    1 column of 13 text lines in Latin and French. Bounding lines in red plummet, full-length to all edges, writing lines in light red plummet, top line doubled and full-length to inner and outer edges, prickings preserved in outer edge for writing lines, upper and lower edges for bounding lines.

    Catchwords in cursive or bookhand, lower right of last verso, some trimmed. Modern Arabic foliation in pencil.

    Written in a Gothic bookhand in black ink by at least three hands: f. 1-6; ff. 7 - 188 line 4; ff. 188 - end. Red rubrics, with some rubricator guides extant. ff. 1 - 188: two-line initials throughout in gold leaf on paneled background of blue and salmon with white filigree highlights; one-line in-text initials throughout alternating blue with red filigree or gold with black; line fillers blue and red. ff. 188 and following by a lesser artist; 2-line initials blue with red filigree and one-line in-text initials in blue with red filigree or red with black. Seven three-line initials in blue with white filigree highlights on gold background with floral infill in colors, with a square serpentine ¾-frame around text in colors on gold background with floral infill, full borders of thin black vines, gold leaves, acanthus and flowers in colors (on ff. 36, 107, 138, 148, 156, 166, and 172). These pages were illuminated by a different artist than the remainder of the volume. Each is at the beginning of a quire and usually, though not always, at the beginning of a text.

    Eight six- to seven-line historiated initials in red or blue with white highlights on a gold background with black vines and gold leaves into margin: f. 14 (the Hours of the Trinity, for Sunday): the Throne of Mercy, in the letter [D] - God the father seated on a blue-draped altar holding crucified Christ, gold background with incised floral pattern; f. 17v (The Hours of the Dead, for Monday): three monks singing from a scroll behind a blue-draped altar, two candles in front, one behind, in the letter [R]; (lacking initial for the Hours of the Holy Spirit, for Tuesday); f. 23 (Hours of All Saints, for Wednesday): a group of standing saints in the letter [D]; f. 26 (the Hours of the Sacrament, for Thursday): red-robed priest holding a monstrance, in the letter [D]; f. 29 (the Hours of the Cross, for Friday): the Crucifixion, with the Virgin Mary and John the Baptist, on a “gold scrolls”-style background, in the letter [D]; f. 32v (the Hours of the Virgin, for Saturday): the Annunciation, on a “gold-scrolls”-style background, in the letter [D] - Mary kneels behind a reading desk with an open book, a vase of lilies in the foreground, the Angel Gabriel to the left with banderole; f. 165 (suffrage for St. Francis): St. Francis with stigmata, on a “gold-scrolls”-style background, in the letter [O].

    Three large miniatures, with full borders of black vines and gold leaves with a few small colored flowers.

    Binding: 15th-century blind-stamped, -tooled, and -incised calf over boards. One of the stamps (partially illegible) includes the word “valle.” Lacking clasps and straps. Rebacked, 19th-century laid-on spine gilt in compartments, title label, gilt, reads “P[ ]A/T[ ]R.” Braided endbands. Parchment pastedowns.

    Probably produced in Amiens. The calendar includes in red northern French saints such as Remigius (1 Oct.), Piatus (1 Oct.), Martin (11 Nov.), and Eligius and his translation (25 June and 2 Dec.). Also of note are the translation of St. Walaricus (1 April, a date used primarily in Amiens), and the feast of St. Avia (21 Oct.)

    The phrase “famulae tuae” on f. 79 and the inclusion of a prayer to the Virgin for the use of a woman in labor both indicate that the manuscript was made for the use of a young woman, in particular a young mother. The two major suffrages on ff. 175 and 176, to St. Avia and St. Augustine of Hippo, both accompanied by ¾-page miniatures, are of particular importance. While St. Avia was a saint of great import throughout the North of France, she was also a patron of small children, a fact which may have made her of particular interest to the young mother who first owned the manuscript. While he was a saint of widespread veneration, the inclusion of a lengthy suffrage to St. Augustine and full-length portrait singles him out as of particular importance to the original owner of the manuscript. His legendary status as a devoted son may have made him a patron to that devout young mother.

    Inscription

    On folio 195 are two identical early inscriptons recording a death in 1480: "Gilles de Drue trespassa de che monde. Et fut le jour da la magdalaine. Dieux ayt son ame sil luy plaist. Priies dieu pour son ame Et fut le xxiie jour de juillet mil iiiic et iiiixx" ("Gilles de Drue passed from this world. And it happened on the Day of the Magdalene. May God have his soul if it pleases him. Pray to God for his soul. And it happened on the 22nd day of July, 1480"). The placename "Drue" may be the modern town of Le Dreue, located about 50 kilometers (30 miles) southwest of Amiens. Said in a laid-down inscription inside upper cover to have belonged to the English nunnery of St. Ethelreda on the island of Ely, but this cannot be confirmed.

    Provenance

    By 1480, produced in northern France, possibly in Amiens, for a female patron [see note 1]. Possibly at nunnery of St. Ethelreda, island of Ely, England [see note 2]. 1944, gift of Mrs. Sumner Pingree to the MFA. (Accession Date: December 14, 1944) NOTES: [1] On folio 195 are two identical early inscriptons recording a death in 1480: "Gilles de Drue trespassa de che monde. Et fut le jour da la magdalaine. Dieux ayt son ame sil luy plaist. Priies dieu pour son ame Et fut le xxiie jour de juillet mil iiiic et iiiixx" ("Gilles de Drue passed from this world. And it happened on the Day of the Magdalene. May God have his soul if it pleases him. Pray to God for his soul. And it happened on the 22nd day of July, 1480"). The placename "Drue" may be the modern town of Le Dreue, located about 50 kilometers (30 miles) southwest of Amiens. [2] Noted in a laid-down inscription inside upper cover to have belonged to the English nunnery of St. Ethelreda on the island of Ely, but this cannot be confirmed.

    Credit Line

    Gift of Mrs. Sumner Pingree

    Details

    Dimensions

    Overall (page dimensions): 21 x 15 cm (8 1/4 x 5 7/8 in.)

    Accession Number

    44.862

    Medium or Technique

    Tempera, ink, pencil (modern), and gold on parchment; bindings of calf over boards with gilding and metal and parchment pastedowns

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  • Girdle Book Calendar (March - December only)

    Northeastern Spanish or Southwestern French
    Medieval (Gothic)
    about 1300–50

    Place of Manufacture: Southwestern France; Place of Manufacture: Northeastern Spain

    Description

    A girdle book calendar consisting of ten single leaves sewn together at lower margin, attached to silver holder with six carnelian beads. Typical liturgical calendar format, having 28 to 31 text lines (one month per recto), in Latin.

    Written in a Current Gothic bookhand in brown ink with red rubrics, with astrological entries also in red. “KL”s in solid red. Each month begins with 1 - 3 prefacatory lines, alternating red and brown. Line one is astronomical, line 2 is the Egyptian Day verse [referring to the “Egyptian” days in some months, based on the ancient Egyptian calendar], and line 3 is the number of solar and lunar days. Egyptian days described in the verses are usually indicated in the calendar itself, along with astrological comments and solstices.

    Egyptian Day verses:
    (The months of January and February and the verse for December are lacking in the present manuscript)
    Mars in primam finalis Quarta secundam
    In decimo prima est undeno undeciam [ ] Aprilis
    Tertius in maio sextam pede septima denam
    In decimo sextam iunius quindenaque quartam
    Tridecimo undenam iulius pede denus eandem
    Augusti primam est per septem sive secundam
    Tertia septembris pars le[ ] pede quartam
    Tertius octobris quintam decimam pede nonam
    Octavia quintam novembris pede tertiam quintam

    The calendar includes many Northern Spanish and Southern French saints: of note are Emetherus and Celedonius (3 March), Prudentius, Bishop of Tarazona, Aragon (28 April), Isidor of Seville (4 April), Martialis, Bishop of Limousin (30 June), Salvus (10 September), Scisclus and Victoria (17 November) and Leocadia (9 December).

    Provenance

    By 1909, Albert Figdor (b. 1843 - d. 1927), Vienna [see note 1]; June 14-15, 1932, Figdor and others sale, Gilhofer and Ranschburg, Lucerne, lot 599, sold for 180 fr. 1946, Blumka Gallery, New York; 1946, sold by Blumka to the MFA for $400. (Accession Date: June 13, 1946) NOTES: [1] See Ernst von Basserman-Jordan, Der Schmuck (Leipzig, Klinkhardt und Biermann, 1909), p. 88, fig. 100.

    Credit Line

    Helen and Alice Colburn Fund

    Details

    Dimensions

    Overall (open page dimensions): 6 x 4.5 cm (2 3/8 x 1 3/4 in.)

    Accession Number

    46.458

    Medium or Technique

    Ink on parchment, silver handle with six carnelian beads

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  • Frontispiece Leaf from Moralia in Job, Book 28

    German (possibly Triers)
    Medieval (Romanesque)
    mid-11th century
    Author of text Pope Gregory I (about 540–604)

    Place of Manufacture: possibly Triers, Germany

    Description

    A single leaf from the Moralia in Job, a commentary on the Old Testament Book. The leaf is the frontispiece of a manuscript in the Triers Stadtbibliothek (Moralia in Job, books XXVIII - XXXV, mss 178). 1 column of four text lines in Latin, writing lines in blind (22 blind-ruled lines, but only the lower eight are used, for upper and lower boundary of each of the four lines of text).

    Written in a uncial script on verso, carolingian bookhand on recto in red ink.

    Provenance

    Until the 19th century, the monastery of St. Martin, Trier, Germany; between the early 19th century and 1887, removed from the manuscript [see note 1]. Constantin Raderschatt, Cologne; January 24-27, 1887, Raderschatt estate sale, Heberle, Cologne, lot 630. Rosy Schilling, Frankfurt. By 1929, Viktor Goldschmidt (b. 1853 - d. 1933), Heidelberg [see note 2]. January, 1941, consigned by Lewis Valentine Randall (formerly Ludwig Rosenthal, b. 1893 - d. 1972), Montreal to Schaeffer Galleries, New York (stock no. 960); October 14, 1944, purchased by Schaeffer; October 17, 1944, sold by Schaeffer to Joseph Brummer, New York (stock no. N6139); May 14, 1949, posthumous Brummer sale, Parke-Bernet Galleries, New York, lot 669A (not in catalogue), to the MFA for $1900. (Accession Date: May 12, 1949) NOTES: [1] The manuscript Gregorii Papae Moralia in Job, Books XXVIII - XXXV (Stadtbibliothek Trier 178), was created in the 11th century, possibly at the monastery of St. Martin. This, its frontispiece, was removed sometime between the early nineteenth century and 1887; see Max Keuffer, Beschreibendes Verzeichnis der Handschriften der Stadtbibliothek zu Trier, vol. 2, Die Kirchenväter-Handschriften (Trier, 1891), pp. 93-95. [2] See Georg Swarzenski and Rosy Schilling, "Die Illuminierten Handschriften in frankfurter Besitz" (Frankfurt, 1929), cat. no. 3.

    Credit Line

    William Francis Warden Fund

    Details

    Dimensions

    Overall (page dimensions): 33.6 x 22.7 cm (13 1/4 x 8 15/16 in.)

    Accession Number

    49.492

    Medium or Technique

    Tempera and ink on parchment

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  • Lectura super capitulum Petri Lombardi and Theologiae Summa Compendium

    Various Theological Texts

    German (Bavaria)
    Medieval (Gothic)
    1437
    Author of text Conrad von Sultar (Bishop of Verden, 1399–1407), Author of text Hugo Argentinensis (about 1210–about 1270)

    Place of Manufacture: Bavaria, Germany

    Description

    A book comprising various theological texts:

    ff. 1 - “102” (actually 101): Conrad von Sultar, Lectura super capitulum Petri Lombardi
    Firmiter credimus et simpliciter confitemur…/…letitia cum vultu tuo. Ad quam letitia not per ducat trinitas…/Explicit liber super capitulo de sancta trinitate et fide catholica. Editus puta fremiter credimus per Reverendum magistrem Conradum Sultaro episcopum Verdensen. Finitus Anno domini 1437, in vigilia Sancti Laurencii per manus Conradi Friess de Herzogen Auerach scolarium…/in Bappenheym.
    ff. 101v - 104: Index to the Capitulum
    ff. 104v - 108: [blank, to end quire]
    ff. 109 - 218: Hugo, Argentinensis, ca. 1210-ca. 1270, Compendium theologicae veritatis
    ff. 218 - 221v: Bonaventure, Saint, Cardinal, ca. 1217-1274, Breviloquium sive liber introductiorum in sacram scripturam scilicet theogiam
    ff. 222 - 223v: Registrum ad predencia [sic] capitula [Index to the Theologiae]
    f. 224: [Confraternity diagram with explicatory text in German]
    ff. 224v - 225v: [two additional theological texts, probably sermons]
    ff. 225v - 228v: [blank]

    Two columns of 35 text lines (Lectura) and 45 text lines (Theologiae) in Latin. Bounding lines in black ink, no writing lines.

    Signatures in arabic numerals in lower center margin on final verso of each quire, mostly trimmed. Catchwords in lower right corner of final verso of each quire, written by scribe. Foliated by a contemporary hand in arabic numerals, upper center of each recto and verso (same numeral used for both rectos and versos), numbering skips one leaf so reaches 102 instead of 101, those numbers used above for reference.

    Written in a Gothic cursive, by five hands: ff. 1-104v; ff. 109 - 181; ff. 182 - 223; and two hands on ff. 224v - 225. Black ink with black fractura rubrics for scribe 1, red rubrics for scribe 2, and no rubrics elsewhere.

    Scribe 1: f. 1: 10-line [F] in green with yellow filigree highlights on salmon background with gold filigree highlights, in blue frame with gold fillet borner, narrow 3/4 acanthus border in colors. f. 3: 5-line gold leaf initial on blue background with white filigree highlights; in-text initials throughout one- to two-lines in black, stroked red, with some filigree or decorative heads or animals. Scribe 2: 2-line red initials thorughout with red filigree; one-line initials in text throughout in red.

    Binding: Original incised deerskin over boards, front cover lacking (but preserved separately, see MFA 55.651a). Bronze round central and corner bosses on lower cover, straps of deerskin over leather, and bronze clasps intact, lacking catches from front cover. Parchment pastedown at back (an early 15th-century document). Paper quire-guards at mid-point of all gatherings, from an early 15th-century German document. Tawed-leather tabs, dyed, alternating blue and red, as bookmarks on outer edge of bookblock, marking some chaper and text divisions. Eighteenth-century paper label on spine with manuscript inscription, “Compendium/ Theologie Chro[ ]/ St. Thomae de A[qui]/no.”

    Written in part by one Conrad Friess in “Bappenheym” (probably Pappenheim, in Bavaria) on August 9, 1437 (see colophon, f. 102, above).

    Inscription

    Colophon, f. 102: Firmiter credimus et simpliciter confitemur…/…letitia cum vultu tuo. Ad quam letitia not per ducat trinitas…/Explicit liber super capitulo de sancta trinitate et fide catholica. Editus puta fremiter credimus per Reverendum magistrem Conradum Sultaro episcopum Verdensen. Finitus Anno domini 1437, in vigilia Sancti Laurencii per manus Conradi Friess de Herzogen Auerach scolarium…/in Bappenheym.

    Markings

    Paper (folio) has two bull's head watermarks: Quire I-XVIII is similar to Piccard 3:XIII:208, 269, and 284-5 (Germany 1430-1450); the watermark in the final quire is Piccard 3:XII:601 (Königsberg and Leipe, 1444-1445).

    Provenance

    By 1955, with WIlliam H. Schab; 1955, sold by William H. Schab to the MFA. (Accession date: October 20, 1955)

    Credit Line

    Frederick Brown Fund

    Details

    Dimensions

    Overall (page dimensions): 31 x 21.2 cm (12 3/16 x 8 3/8 in.)

    Accession Number

    55.651b

    Medium or Technique

    Tempera, ink, and gold on paper; bindings of deerskin over boards with bronze bosses and clasps

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  • The Crucifixion (a Leaf from the Potocki Psalter)

    French (Paris)
    Medieval (Gothic)
    mid-13th century

    Place of Manufacture: Paris, France

    Description

    A miniature from a psalter (a book containing a collection of Psalms) depicting the Crucifixion, with the Virgin Mary and John the Baptist. Christ is suspended on the dark green cross, bleeding from the wound in his torso and wearing a green loincloth. The crucifix divides the scene into quadrants, the two at the top much smaller than the two below - clockwise, from upper left, they contain a semi-shrouded orange sun, a crescent moon, John the Baptist in a blue tunic and beige cloak, and the Virgin Mary in a beige gown and blue cloak. The vertical borders of the scene are light blue ropework on a dark blue background, and the upper and lower borders are solid beige. Haloes are orange or green. Gold leaf background.

    Provenance

    By the late 18th century, probably removed from a 13th-century French psalter [see note 1]. 1957, Schaeffer Galleries, New York; 1957, given by Schaeffer to the MFA. (Accession Date: November 14, 1957) NOTES: [1] In the late 18th century, Stanislaw Kostka Potocki (b. 1755 - d. 1821), the Polish emissary to Paris, purchased an already incomplete psalter -- known as the Potocki Psalter -- that remained in his family until 1932, when it was sold to the National Library, Warsaw. This miniature has been identified as coming from the Potocki Psalter. It is believed to have been removed by the time of Potocki's purchase in the 18th century, although at what date the removal occurred is not known. Four other miniatures from the psalter, today at the Blackburn Museum and Art Gallery (England), are also thought to have been removed by this early date. See "The Illuminations of the Potocki Psalter from the Wilanów Collection" (exh. cat., Biblioteka Narodowa, Warsaw, 2004), pp. 95-96, 100-101.

    Credit Line

    Gift of the Schaeffer Galleries in memory of Dr. Georg Swarzenski

    Details

    Dimensions

    Overall: 10.7 x 8 cm (4 3/16 x 3 1/8 in.)

    Accession Number

    57.707

    Medium or Technique

    Tempera, ink and gold leaf on parchment

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  • The Burial, Office of the Dead (Leaf from a Book of Hours)

    French (Paris?)
    Medieval (Gothic)
    about 1410
    Illuminator Luçon Master (French, active 1390–1417)

    Place of Manufacture: Paris, France

    Description

    A single leaf from a Book of Hours, with a half-page miniature attributed to the Luçon Master (active 1390-1417): in a blue-vaulted church, a black coffin with a gold cross sits in a stone frame, surrounded by candelabras. At a lectern behind the coffin, three tonsured and blue-robed monks sing from an open book. To the left, two mourners draped in black. The image and text are enclosed on three sides (not at the top) by an elaborate gold-leaf cross-hatch frame with spaces filled in colors.

    Latin text written in a Gothic bookhand in black ink, red rubrics. 2 columns of 20 lines of text. Writing lines in light plummet. Psalm incipits 2- to 3-line blue with white highlights and infill of white vine with leaves in colors on gold background. Liturgical initials 1-line blue or pale pink, with infill and colors as with Psalm initials. Half-page miniature attributed to the below the text, but still within the cross-hatch frame, a grisaille vignette of a dog chasing a sheep and a rabbit. Full border on recto and verso of black vines and gold leaves. On verso, ¾ gilt-fillet frame around text with lower corner florets in colors.

    Provenance

    From a Book of Hours, possibly made for Margaret of Bavaria (b. 1363 - d. 1424), wife of John the Fearless of Burgundy [see note 1]. July 20, 1916, anonymous sale, Sotheby's, London, lot 954 , sold to Bernard Quaritsch, London [see note 2]; about 1916/1917, the manuscript was taken apart and twelve text leaves and twelve miniatures were re-bound. 1917, re-bound manuscript acquired by Alfred Chester Beatty (b. 1875 - d. 1968), London and Dublin, and subsequently broken up [see note 3]; December 3, 1968, Chester Beatty sale, Sotheby's, London, lot 23D, sold to Herbert Bier (dealer), London, in joint ownership with Arthur Kauffmann (dealer), London, and Mrs. F. Scharf [see note 4]; 1969, sold by Herbert Bier to John Goelet; 1973, year-end gift of John Goelet to the MFA. (Accession Date: January 9,1974) NOTES: [1] As first suggested in a letter to the MFA from Christopher de Hamel, Sotheby's, London (March 10, 1983), who noted that the presence in the original manuscript of a miniature of St. Margaret and the metrical legend of the saint suggested a female owner who had a particular devotion to the St. Margaret, such as Margaret of Bavaria. [2] At the time of the sale, the manuscript comprised 110 leaves and was in an eighteenth-century red Morocco binding. Information about its early twentieth-century history was first provided by Christopher de Hamel (as above, n. 1); see also Medieval and Renaissance Manuscripts, Sotheby's, London, July 7, 2015, lot 36. [3] Beatty Western MS.104. Around 1930, the manuscript was broken up and the individual illuminations were mounted and framed separately. [4] Information taken from the Herbert Bier archives, Wallace Collection, London, through the blog http://mssprovenance.blogspot.com ("The Herbert Bier Archive at the Wallace Collection, July 4, 2015).

    Credit Line

    Gift of John Goelet in honor of Hanns Swarzenski

    Details

    Dimensions

    Overall (page dimensions): 18.4 x 13.6 cm (7 1/4 x 5 3/8 in.)

    Accession Number

    1973.691

    Medium or Technique

    Tempera, ink and gold leaf on parchment

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  • The Dream of Saint Romuald (Cutting from an Antiphonary or a Gradual)

    Italian (Venice?)
    Medieval (Late Gothic)/early Renaissance
    mid-15th century
    Attributed to Belbello da Pavia

    Place of Manufacture: possibly Venice, Northern Italy

    Description

    A cutting from an antiphonary or gradual choirbook (both book types containing songs for the Divine Office or Mass), with four partial staves on verso. Heightened square neumes on a four-line red staff, no clefs extant. Written in a Rotunda script in black ink with text in Latin. Historiated initial (probably [O]), the Dream of St. Romuald (founder of the ascetic Camaldolese monastic order in the late tenth century): while seeking a site on which to build his new abbey (so the legend was recorded in the Vita Beati Romualdi by Peter Damian), Romuald dreamed of a ladder connecting heaven and earth on which ascended and descended men in white robes. In this miniature, the white-robed Romuald is shown sleeping in a kneeling position and resting his head against a white-draped altar. He is surrounded by similarly clothed Camaldolese monks, apparently part of his vision, some of whom are at prayer while others gaze at the ladder to heaven in the background. Contrary to the vision as recorded by Peter Damian, in this depiction angels, not white-robed men, fill the ladder, perhaps a conflation of the legend with Jacob’s dream. Gold leaf background.

    Provenance

    About 1955/1961, the estate of Jacob Hirsch (dealer; b. 1874 - d. 1955), New York [see note 1]. Probably Frederick A. Stern (dealer), New York [see note 2]. 1967, Julius Böhler, Munich; 1967, sold by Böhler to John Goelet, New York; 1973, gift of John Goelet to the MFA. (Accession Date: January 9, 1974) NOTES: [1] Millard Meiss, "An Early Lombard Altarpiece," Arte Antica e Moderna, 13 (1961): 132, n. 28 and pl. 46b. [2] According to Serena Padovani, "Pittori della corte estense nel primo Quattrocento," Paragone 26 (1975): 48, n. 28, this belonged to "F. Stern" of New York, presumably the dealer Frederick Stern. At the time of publication, Padovani was unaware that the miniature was owned by the MFA.

    Credit Line

    Gift of Mr. John Goelet in honor of Hanns Swarzenski

    Details

    Dimensions

    Overall: 21 x 13.5 cm (8 1/4 x 5 5/16 in.)

    Accession Number

    1973.692

    Medium or Technique

    Tempera, ink and gold leaf on parchment

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  • Vallambrosan Rituale

    Rituale vall'Umbrose

    Italian (Tuscany)
    Medieval (Late Gothic)/early Renaissance
    1479–1508

    Place of Manufacture: Tuscany, Italy

    Description

    A ritual (a book containing the prayers and formulae for the administration of all the sacraments) for the use of the Benedictine Order of Vall’ambrosa, composed of 3 leaves and 75 folios (ff.):

    ff. 1 - 30v: [Benediction, profession, and consecration of novice nuns, including a litany on ff. 8 - 9v]
    ff. 31 - 49: Pontificale
    ff. 49 - 59: Ordo a visitanda monasteria
    ff. 59 - 68v: Breviary (temporale only, but including St. John Gualbert)
    ff. 68v - 75v: [Benediction, profession, and consecration of novice monks, including a litany on ff. 74 - 75v]

    1 column of 21 text lines in Latin or 6 lines of music. Bounding lines brown plummet, full-length to top and bottom edges, writing lines brown plummet. Square, heightened stemmatic notation on 3 or 4 lines, C-clef indicated.

    Final leaf cancelled. Vertical catchwords, lower right corner of last verso of each quire. Partially foliated in pencil with modern arabic numerals.

    Written in a Rotunda script in brown ink with red rubrics. Two historiated initials: f. 1: 7-line initial historiated with nimbed Christ (as King David?) playing a psaltery, fortified structure in background, within foliate [B] in colors in gold frame, scrolling flowers and acanthus full-length along outer margin; f. 63: 5-line initial historiated with St. John Gualbert, nimbed, holding book and tau cross, in brown Benedictine habit, within a foliate [D] as on f. 1, small border into side and lower margins. f. 31: 9-line foliate [P] in colors with full-length outer border as on f. 1. Ten three-line gold initials on blue and green backgrounds with white filigree, small scrolling floral border with gold berries into margin. Two-line initials throughout in red with purple filigree or blue with red.

    Arms of Bishop Rinaldo Orsini of Florence (Bishop 1474-1508) in lower margin of f. 1: upper right half is the di Carli arms (Rinaldo’s mother was Maddalena di Carlo Orsini): lion rampant a sinistre (lion should be holding a cross, but the arms are too rubbed to ascertain); lower left half is the Orsini arms, alternating six stripes of red and white.

    A ritual for the use of the Benedictine Order of Vall’ambrosa, founded by St. John Gualbert in 1038. The litanies on ff. 8 - 9v and 74 - 75v include St. John Gualbert, and his is the only sanctorale office in the breviary section of the manuscript.

    Provenance

    Between 1479-1508, probably written at Santa Maria di Vall'ambrosa, near Florence, Italy [see note 1]. By 1979, Aimée and Rosamond Lamb, Boston, MA; gift of Aimée and Rosamond Lamb. (Accession date: October 17, 1979) NOTES: [1] Probably written at Santa Maria di Vall'ambrosa, approximately 20 miles east of Florence, between 1479-1508. The overlap of the abbacy of Biagio Milanesi (abb. 1479-1523), who is mentioned in the professions, and the Florentine Episcopacy of Rinaldo Orsini (bishop 1474-1508), whose arms are on f. 1.

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    Overall (page dimensions): 25.5 x 18.8 cm (10 1/16 x 7 3/8 in.) Overall (writing space): 24.5 x 17.7 cm (9 5/8 x 6 15/16 in.)

    Accession Number

    1979.493

    Medium or Technique

    Tempera, ink, and pencil (modern) with gold on parchment; bindings of blind-stamped- and -rolled calf over bevelled wooden boards with gilding and metal

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  • Book of Hours (Use of Rome)

    Italian (Siena)
    Medieval (Late Gothic)/early Renaissance
    about 1450–75
    Attributed to Liberale da Verona

    Object Place: Siena, Tuscany, Italy

    Description

    A Book of Hours with 291 folios and 7 leaves:

    ff. 1 - 12v: Calendar
    f. 13: [blank]
    ff. 14 - 132: Hours of the Virgin
    (ff. 14 - 31v: Matins)
    (ff. 31v - 51: Lauds (rubric added later))
    (f. 51v: [blank])
    (ff. 52 - 59: Prime)
    (f. 59v: [blank])
    (ff. 60 - 67: Terce)
    (f. 67v: [blank])
    (ff. 68 - 74v: Sext)
    (f. 75 r/v: [blank])
    (ff. 76 - 83: None)
    (f. 83v: [blank])
    (ff. 84 - 96: Vespers)
    (f. 97 r/v: [blank])
    (ff. 98 - 105: Compline)
    ff. 105v - 132: Seasonal instructions
    ff. 133 - 174: Hours of the Passion
    f. 174v: [blank]
    ff. 175 - 186v: “Hours of the Passion” (i.e. Hours of the Cross)
    f. 187 r/v: [blank]
    ff. 188 - 258: Office of the Dead (Use of Rome)
    f. 258v: [blank]
    ff. 259 - 291v: Penitential Psalms, Litany and Prayers

    1 column of 12 text lines in Latin. Bounding lines plummet or dry-point, full-length to top and bottom, writing lines plummet or dry-point.

    Catchwords in lower center margin, last verso of each quire. Nineteenth-century arabic foliation in black ink.

    Written in a Italian Gothic script in black ink, red rubrics, some in Italian. Five historiated initials: f. 14 (Matins, Hours of the Virgin): 8-line initial D historiated with the Annunciation - Gabriel and Mary seated, Mary with prayerbook, Gabriel presents lilies, within a botanical [D] in dark salmon, red, blue, and green, within gold frame, full border of scrolling acanthus, gold berries, birds, animals, and grotesques; f. 134: Hours of the Passion - Christ emerging from the tomb, almost certainly by Liberale de Verona, in foliate [D] in colors, full border as f. 14; f. 175: Hours of the Cross - Christ emerging from the tomb, possibly the same artist as f. 14, same border; f. 188: Office of the Dead - corpse lying on bed, same artist as f. 14, same border; f. 259: Penitential Psalms - David with lyre, same artist and border as f. 14. Eighteen 4-line foliate initials in colors in gold frame (beginning all hours except Matins throughout). 2- to 3-line initials throughout in red with purple filigree or blue with red filigree.

    The calendar includes several saints of Sienese import, including St. Bernarrdinus of Siena (20 May), St. Cerbonius (10 October ), St. Ansanus (Dec. 1) and the Dedication of San Salvatore (9 November, possibly the Abbey of San Salvator in Siena). St. Nicolai de Tolentino (September 10, also found in the litany) was canonized in 1446, a reliable terminus post quem for the production of the manuscript. Although ths calendar does not include Catherine of Siena (can. 1461), it may post-date her canonization.

    Provenance

    Aimée Lamb (b. 1893 - d. 1989) and Rosamond Lamb (b. 1898 - d. 1989), Boston; 1979, gift of Aimee and Rosamond Lamb to the MFA. (Accession Date: October 17, 1979)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    Overall (page dimensions): 13.4 x 11.2 cm (5 1/4 x 4 7/16 in.) Other (writing space): 6.3 x 4.5 cm (2 1/2 x 1 3/4 in.)

    Accession Number

    1979.494

    Medium or Technique

    Tempera, ink and gold on parchment; bindings of calfskin over bevelled boards, with gilding

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  • Leaf from a Book of Hours

    Northern French or Flemish
    Medieval (Gothic)
    mid-15th century

    Place of Manufacture: Northern France; Place of Manufacture: Flanders

    Description

    1 leaf from a Book of Hours from the beginning of the text to be read at the hour of Compline (the last of the canonical day hours).

    1 column of 15 text lines in Latin. Writing lines in light red plummet.

    Written in a Gothic bookhand in brown ink with red rubrics. Office begins with 3-line initial C in blue with white filigree highlights, gold background with floral infill; responsories start with 1-line gold initial on colored background; full foliate border in gold and colors with acanthus, flowers, and grotesques. Outer border only on verso. Roundel in lower margin recto of three angels as musicians. ¾-page miniature of the Coronation of the Virgin: in a gold-fillet arched frame enclosing a typical Coronation interior (star-studded blue background, gold-scrolls courtyard wall, green tile floor), God, enthroned at the right, blesses the Virgin, who kneels before him with an angel behind her. Golden light shines from the Holy Spirit through a heavenly aperture at the top of the scene.

    Provenance

    Mid-15th century, produced for a Book of Hours in northern France or southern Netherlands (Flanders). By 1979, Aimée and Rosamond Lamb, Boston, MA; gift of Aimée and Rosamond Lamb. (Accession date: October 17, 1979)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    Overall (page dimensions): 17.4 x 11.5 cm (6 7/8 x 4 1/2 in.)

    Accession Number

    1979.495

    Medium or Technique

    Tempera, ink, and gold on parchment

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  • Cutting from a Manuscript: Initial [D]

    Italian
    Renaissance
    late 15th century–early 16th century

    Place of Manufacture: Italy

    Description

    A cutting from a manuscript with an Old Testament figure, possibly Daniel, in brown tunic and red, white-trimmed cloak, hands clasped at prayer gazing up at the head of God peering down from a heavenly aperture, with a lion (as a stylized dragon) in background, verso blank, in a foliate letter [D] on a gold-leaf background. The size of the miniature suggests that the cutting came from a choir book, either a gradual or an antiphonary. However, there are no liturgical offices that would be historiated with this image in the letter [D]. If this is indeed a representation of Daniel, it seems more likely that the initial was cut from a large Bible, where it began Jerome’s prologue to the Book of Daniel, which begins “Danielem prophetam iuxta…” With no text on the verso, however, the question of the cutting’s source must remain open.

    Provenance

    By 1979, Aimée and Rosamond Lamb, Boston, MA; gift of Aimée and Rosamond Lamb. (Accession date: October 17, 1979)

    Credit Line

    Gift of Miss Aimée and Miss Rosamond Lamb

    Details

    Dimensions

    Overall: 6.7 x 6.2 cm (2 5/8 x 2 7/16 in.)

    Accession Number

    1979.496

    Medium or Technique

    Tempera and gold on parchment

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  • Leaf from a Book of Hours

    Northwestern French
    Medieval (Gothic)
    about 1450–75

    Place of Manufacture: Northwestern France

    Description

    A single leaf from a Book of Hours (Hours of the Cross opening).

    1column of 12 text lines in Latin. Bounding lines in light red plummet, writing lines in light red plummet, doubled at left on verso.

    Written in a Gothic bookhand in black ink fading to brown with red rubrics. Four-line historiated initial [D] on recto in salmon with white filigree highlights in gold frame, historiated with Adam and Eve in the garden. Text enclosed in wide ¾ frame of triangular compartments filled with flowers in colors on gold background. Full border of leafy sprays in colors and thin acanthus with fruit, gold berries, birds, human figures (Christ at upper left, Angel at upper right), marginal figure scraped away at right. Two-line initials in salmon with floral infill in gold frame. One-line initials in gold filled and surrounded by blue and salmon with white filigree highlights. Border on verso in outer margin only, as on recto but with no figures.

    Provenance

    By 2000, collection of Lloyd and Vivian Hawes, Wellesley, MA; 2000, bequest of Vivian Hawes. (Accession date: June 21, 2000)

    Credit Line

    The Lloyd and Vivian Hawes Collection

    Details

    Dimensions

    Overall (page dimensions): 19.8 x 15.2 cm (7 13/16 x 6 in.)

    Accession Number

    2000.728

    Medium or Technique

    Tempera and ink with gold on parchment

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  • Leaves from a Missal

    Italian
    Medieval (Romanesque)
    mid-12th century

    Place of Manufacture: Italy

    Description

    Three half-leaves (two from same folio - folio 1 retains the upper half only, and is apparently consecutive with folio 2) from a Missal.

    Feria 3 (station of St. Cyriacus) and feria 4 (station of St. Marcellus) of Passion week:
    f. 1 (upper half only): …peccatorum et tuae propiatio maiestatis…/…autem die magno festivitatis sta….
    f. 2 (two separate halves): …meus et non dereliquisti diligentes te…/…nec coram ceco pones offendi (includes John 7:1-13 and Lev. 9:10-14).

    2 columns of originally 30 text lines in Latin. Boundings lines in blind, writings lines in blind.

    Written in a Rotunda script in black ink with red rubrics. 2-line initials throughout, alternating red and blue.

    Written in Italy in the mid-twelfth century. Used as covers and a flyleaf in the 17th century, probably for music sheets (“Basso” and “Tenor” written on one fragment).

    Provenance

    By 1917, Denman W. Ross (1853-1935), Cambridge, MA; 1917, gift of Denman W. Ross. (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions of f. 1.): 16 x 21.1 cm (6 5/16 x 8 5/16 in.) Other (page dimensions of f.2 upper half): 14.4 x 21.3 cm (5 11/16 x 8 3/8 in.) Other (page dimensions of f. 2 lower half): 15.7 x 21 cm (6 3/16 x 8 1/4 in.) Other (approximate original page dimensions): 31.5 x 21.3 cm (12 3/8 x 8 3/8 in.)

    Accession Number

    RES.17.85

    Medium or Technique

    Ink on parchment

    Not On View

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  • Partial Bifolium from The Confessions

    Partial Leaves from The Confessions

    Swiss
    Medieval (Romanesque)
    late 12th century
    Author of text Saint Augustine (Roman, North Africa, A.D. 354–430)

    Place of Manufacture: Switzerland

    Description

    Upper half of a bifolium (sheet of parchment folded in half to produce two leaves), with text from The Confessions, written by Saint Augustine, Bishop of Hippo in Roman North Africa, in 397.

    f. 1: 4.11.16 “deum” - 4.12.18 “abiit”, 4.12.19 “ut redeamus” - “spiritu eius”
    f. 2: 5.9.16 “eius tam falsa” - 5.9.17 “humiliatum”, 5.9.17 “tua ingerebat” - 5.9.18 “meam quam mea” (Patrologia Latina 32:700-701 and 1713-1714).

    1 column of text in Latin, with 18 of approximately 30 original lines.

    Written in a Swiss Romanesque bookhand in black ink. Heading (on verso of f. 1): “IIII” in blue and red epigraphic capitals.

    Used as a binding fragment at a later date.

    Provenance

    By 1917, Denman W. Ross (1853-1935), Cambridge, MA; 1917, gift of Denman W. Ross. (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions of half leaf): 15 x 21.5 cm (5 7/8 x 8 7/16 in.)

    Accession Number

    RES.17.86

    Medium or Technique

    Ink on parchment

    Not On View

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    Europe, The Ancient World

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    Books and manuscripts, Manuscripts

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  • Leaf from the Digest

    Folio from the Digestum

    German
    Medieval (Gothic)
    13th century
    Author of text Emperor Justinian I (483?–565)

    Place of Manufacture: Germany

    Description

    1 folio cut in half width-wise and now in two pieces. Text is taken from Justinian’s Digest (or Digestum), a compilation of legal rules and statutes from the classical jurists, which formed part of the larger Code of Justinian.

    Each piece has 2 columns of 31 text lines in Latin. Bounding lines in blind, doubled at inner and outer margins, tripled between columns, full-length to upper and lower edges, writing lines in blind or light plummet, prickings along outer margin for writing lines only.

    Possible catchword on verso, lower right corner, “In conputidi esto” [?].

    Written in an early Gothic script in black ink with red rubrics. Three-line initials throughout alternating blue stroked red or vice versa, in-text initials alternate red and blue, paragraph marks alternate red and blue.

    At an early date, the leaf was cut in half width-wise, each half folded for use as a wrapper, with some thread still sewn through new “spine.” Some early marginalia.

    Inscription

    Inscribed in pencil on verso: "120".

    Provenance

    By 1917, Denman W. Ross (1853-1935), Cambridge, MA; 1917, gift of Denman W. Ross. (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 41.5 x 27.5 cm (16 5/16 x 10 13/16 in.)

    Accession Number

    RES.17.87

    Medium or Technique

    Ink and pencil (modern?) on parchment

    Not On View

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    Europe

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  • Bifolium from a Book of Hours

    South Netherlandish (Flanders)
    Medieval (Gothic)
    15th century

    Place of Manufacture: Flanders

    Description

    A bifolium (sheet of parchment folded in half to produce two leaves), from a Book of Hours containing text from the Office of the Virgin, Vespers and Compline (includes Ave Maria hymn).

    1 column of 16 text lines in Flemish, writing lines in blind.

    Written in a hurried Gothic bookhand in black ink with red rubrics. Two-line initial in red on f. 1 recto at the beginning of the Office.

    Provenance

    By 1913, Denman W. Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Denman W. Ross. (Accession date: February 15, 1917) NOTES: [1] From September 30, 1913 until it was accessioned, this object was on loan to the MFA from Denman W. Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions, each leaf): 11.8 x 8.4 cm (4 5/8 x 3 5/16 in.)

    Accession Number

    RES.17.88

    Medium or Technique

    Ink on parchment

    Not On View

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    Europe

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  • Decretum

    French
    Medieval (Gothic)
    about 1200–50
    Author of text Gratian (died no later than 1159)

    Place of Manufacture: France

    Description

    Several leaves pasted together to make a bookcover, laid on paper. Text is from Gratian’s Decretum of ca. 1140, including his Causa II, Q. viii, C. 57/58. Gratian’s Decretum (also known as Concordantia Discordantium Canonum) is a collection of papal letters and conciliar decrees, which became the most important law book of the 12th century.

    1 column of text and 1 column of commentary are extant, 29 lines extant, all in Latin.

    Written in an early Gothic bookhand (commentary in Gothic cursive) in black ink with red rubrics.

    Later used with other leaves as a binding, with a Hebrew leaf pasted-down onto the binding’s spine. When the Hebrew leaf was removed, it left a mirror-image offset.

    Provenance

    By 1913, Denman W. Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Denman W. Ross. (Accession date: February 15, 1917) NOTES: [1] From September 30, 1913 until it was accessioned, this manuscript was on loan to the MFA from Denman W. Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 14.2 x 20.5 cm (5 9/16 x 8 1/16 in.)

    Accession Number

    RES.17.89

    Medium or Technique

    Ink and tempera on parchment

    Not On View

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    Europe

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    Books and manuscripts, Manuscripts

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  • Leaf of Grammatical Text

    French
    Medieval (Gothic)
    14th century

    Place of Manufacture: France

    Description

    One leaf from an unidentified grammatical manuscript.

    1 column of 35 text lines in Latin.

    Written in a Gothic cursive (hurried and rounded) in black ink. 2-line red initials throughout in red, red paragraph marks.

    Provenance

    By 1913, Denman W. Ross (1853-1935), Cambridge, MA [see note 1]; 1917, gift of Denman W. Ross. (Accession date: February 15, 1917) NOTES: [1] From September 30, 1913 until it was accessioned, this manuscript was on loan to the MFA from Denman W. Ross.

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall (page dimensions): 14.4 x 9.8 cm (5 11/16 x 3 7/8 in.)

    Accession Number

    RES.17.90

    Medium or Technique

    Ink on parchment

    Not On View

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    Europe

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  • Saint Christopher (Cutting possibly from a Vitae Sanctorum)

    German
    Medieval (Gothic)
    15th century

    Place of Manufacture: Germany

    Description

    A cutting from an unknown source, possibly a vitae sanctorum for the use of Franciscan nuns, or an office book. The cutting contains text in Latin and a depiction of Saint Christopher wading across the river with the Christ Child on his back, holding a staff, beneath an architectural frame before which kneels a brown-habited nun (Franciscan?) with banderole in Gothic cursive reading “O heilige Cristopher bit fur mich.”

    Inscription

    Inscribed on banderole in Gothic cursive script: "O heilige Cristopher bit fur mich".

    Markings

    No watermark

    Provenance

    By September 1913, Dr. Denman W. Ross (1853-1935), Cambridge, MA; 1917, gift of Dr. Denman W. Ross. (Accession date: February 15, 1917)

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Overall: 10.5 x 8.7 cm (4 1/8 x 3 7/16 in.)

    Accession Number

    17.531

    Medium or Technique

    Tempera and ink on paper

    Not On View

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    Europe

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  • Leaf from an Antiphonary

    Page from choir book with illuminated initial

    Italian
    Medieval (Late Gothic)
    15th century

    Place of Manufacture: Italy

    Description

    A single leaf from an antiphonary, a book containing the sung portions of the Divine Office.

    1 column of 8 staves in Latin. Bounding lines in light plummet, doubled and full-length to upper and lower edges, writing lines in light plummet, with upper and lower bounding lines for each line of text. Heightened square notation on a four-line red staff, C-clef indicated.

    Written in a Italian rotunda script in black ink with red rubrics. On recto, three-staff-high [S] (for “Spiritus domini…”) in light salmon on gold background with small amount of acanthus in colors, a few gold balls with a single ray, historiated with the Pentecost: nimbed half-figures of Mary and apostles in lower compartment, Mary in blue with hands crossed, watching as the holy spirit descends from the upper compartment through white clouds on a blue background, projecting red rays into the lower compartment.

    Inscription

    Foliated by a contemporary hand on verso in red Roman capitals, "CCIII"; foliated by a sixteenth-century hand on recto as "c. 203".

    Provenance

    1938, bequest of Nathaniel T. Kidder (1896-1938) to the MFA. (Accession Date: October 13, 1938)

    Credit Line

    Bequest of Nathaniel T. Kidder

    Details

    Dimensions

    Overall (page dimensions): 54.7 x 36.9 cm (21 9/16 x 14 1/2 in.)

    Accession Number

    RES.38.34

    Medium or Technique

    Tempera and ink with gold on parchment

    Not On View

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    Europe

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  • Bible (Genesis - Psalms)

    Netherlandish (Zwolle); German (Cologne)
    Medieval (Gothic)
    1454

    Place of Manufacture: Zwolle, The Netherlands

    Description

    ff. 1-273v: Bible, Genesis - Psalms, some books in non-canonical order with, for the most part, the common set of prologues (as in Ker, MMBL below). Frater ambrosius tua michi…/…Omne quod spirat laudet dominum alleluia./ Explicit liber psalmorum.
    Epistola (Stegmüller 284); Pentateuch (Steg. 285); Joshua (Steg. 311); Judges; Ruth; Kings I-IV (Steg. 323); I Chron. (Steg. 328 ); II Chron.; Ezra (Steg. 330); Proverbs (Steg. 457); Ecclesiastes; Canticum Canticorum; Sapientia; Ecclesiasticus; Psalms (Steg. 414, 389, and 443) (Psalm divisions at Psalms 26, 38, 51, 52, 68, 80, 97, 101, and 109, representing a combination of the 8-fold and 3-fold divisions).

    Bible, containing Genesis through Psalms, of 273 folios (ff.) and 1 leaf. 2 columns of 46 lines of text in Latin. Bounding lines in black ink, full-length to upper and lower edges, prickings preserved in lower margin for bounding lines.

    One folio lacking after f. 3 (the Genesis initial); ff. 244 and 245, the last two folios of Ecclesiasticus, are singletons, one tipped to the end of quire 31 and the other tipped to the beginning of quire 32, probably originally intended to be the two final leaves of the first volume. Quires 1-31 signed A-Z, 9 [con-], §, a, 7 [et] [quire 31, signatures not extant]; new series for quires 32-34, signed 1a, 2a…1c, 2c. All of this evidence, combined with the fact that the colophon is on f. 245v (the final folio of quire 31), implies that the volume was originally intended to finish with quire 31, at the end of Ecclesiasticus. Some cursive catchwords extant, lower right corner of last verso of quire. Modern pencil foliation in arabic numerals, upper right corner of each recto.

    Written in a Gothic bookhand with some cursive elements in black ink with red rubrics. Fourteen 12-line initials painted in Cologne in blue and red on gold leaf background with foliate infill in colors, or gold leaf with color infill and background, floral tendrils along inner margin and into upper and lower margins, with gold berries. Prologues and minor books begin with 8-line initials in blue and gold with red, purple and green foliate background and infill or blue background and infill, eighteen in all. Chapter initials 2-line in colors with contrasting filigree (those in quires 19-25 (ff. 144-199) decorated in Zwolle in the Ijssel regional style, the remainder in Cologne). Psalm verse initials in-text alternate red and blue.

    Written at St. Gregoryhouse (Fraterhuis), Brethren of the Common Life, in Zwolle in 1454. Originally, the volume was to end at Ecclesiasticus, f. 245. Sometime between the writing and the binding of the set, the Psalms were added to this volume. Quires 19-25 were decorated in Zwolle, and these only with the penflourished initials. After writing, the volume was sent or sold to Cologne, where the painted initials were added to the entire volume and the penflourished initials completed in the same year.

    Binding: Original binding of incised and blind-stamped calf over boards (stamps include an eagle, fleur-de-lis, and various flowers), lacking clasps and straps, catches intact on upper cover, bronze round central and corner bosses extant on both covers, front cover detached, spine lacking. Parchment pastedowns. Bronze supports on lower edges, lacking inner two. Leather tabs or knots attached to outer edge of bookblock mark major text divisions.

    Inscription

    Colophon on f. 245: "Finita est haec prima pars bibliae Anno domini Mo cccco liiiio. Scripta in domo clericorum Zwolle."

    Provenance

    1454, written at St. Gregory house (Fraterhuis), Brethen of the Common Life, Zwolle, Germany; after writing, sent or sold to Cologne [see note 1]. 1909, deposited at the MFA by an unidentified source. (Accession date: January 1, 1909) NOTES: [1] In Cologne, the painted initials were added to the entire volume and the penflourished initials completed.

    Credit Line

    Source unidentified

    Details

    Dimensions

    Overall (page dimensions): 36.4 x 26.5 cm (14 5/16 x 10 7/16 in.)

    Accession Number

    09.634

    Medium or Technique

    Tempera, gold leaf, pencil (modern), and ink on parchment; bindings of calfskin over boards, bronze, and leather

    Not On View

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    Europe

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    Books and manuscripts, Manuscripts

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Contents