Manuscript on parchment of a Book of Hours. With prayers in Italian. Probably made for a female member of the Augustinian order.
Description:
Binding: Original Italian brown cloth over wooden boards, sewn onto three double leather thongs; the cloth is embroidered with silver thread to a design of stars, squares and maltese crosses. Gilt and gauffered edges., Headings in red. 1-line versals alternately in red and blue; 2-line flourished initials with marginal extensions alternately in red and blue, the penwork in the contrasting colour (the normal type of initials throughout the manuscript); 3-line flourished KL ligatures in art. 1; 5-line litterae duplices or initials in the style of litterae duplices with developed penwork at the opening of the various Hours in art. 2; 6-line ditto in art. 3; a 4-line flourished initial at the opening of the Mass of the Virgin in art. 5. All initials are half inset., and Script: Copied by one hand in Southern Gothica Textualis Formata (Rotunda).
Subject (Name):
Augustinians and Catholic Church--Prayers and devotions
Manuscript on paper of 1) Bernard Silvestris, Epistola super gubernationem rei famailiaris. 2) Seneca, De remediis fortuitorum. 3) Elegantiarum viginti precepta. 4) Notes on moveable feasts, a calendar, mnemonics for remembering the names of saints, calendar tables, lists and other notes. 5) Office for the feast of St. Mary, Jubilus, hymn, prayers and other short readings from the Bible and the Apocrypha.
Description:
4 blank leaves. and Gatherings of 7, 7, 12, 6, 2, 2, and 2 leaves respectively as found.
Subject (Name):
Catholic Church--Prayers and devotions and Seneca, Lucius Annaeus,--ca. 4 B.C.-65 A.D
Manuscript on paper of Gaspare da Verona, Regulae de constructione.
Description:
Binding: Fifteenth century, Italy. Parchment stays adhered inside each quire. Original wound sewing on three tawed skin, slit straps laced through tunnels in the edge to channels on the outside of beech boards and nailed. A natural color endband, caught up on the spine, is sewn on a tawed skin core which is laid in grooves on the outside of the boards and pegged. Tied down through brown leather. Quarter bound in mottled brown tawed skin cut out around the head and tail supports. Two fastenings, the leaf-shaped catches (wanting) on the lower board, the upper one cut in for the red fabric straps. The letter R written in ink on head edge., ff. 53v-60r blank, not digitized., Plain red initials, 3- to 1-line, throughout. Guide letters for initials in margin., Script: Written in humanistic cursive script with gothic features by a single scribe, above top line., and Watermarks, buried in gutter: similar in design to Briquet Fleur 6647-49, Briquet Croix grecque 5576 and Piccard Kreuz II.607, Piccard Einhorn III.1648.
Alternately red and blue paragraph marks. Alternately red and blue 2- or 3-line (sometimes 4- or 5-line) flourished initials, half inset, with penwork in the opposite colours extending in the left margin or in the intercolumnar space. On f. 1r at the beginning of the text a 9-line littera duplex with penwork, badly rubbed. Guide letters., Binding: Undecorated cardboard cover, sewn on three leather thongs., Collection of Bernard M. Rosenthal, Booksellers, Berkeley, CA (MS 192). Purchased from him on the Edwin J. Beinecke Fund., Script: Copied by one hand in Southern Gothica Textualis Libraria., and The leaves are badly soiled and rubbed, making reading often difficult or impossible (especially f. 1, which is waterstained and misses the lower corner).
Manuscript on parchment containing 1) Ceremonial for the vestment of a nun. 2) Ceremonial for the communion of a sick nun. 3) Ceremonial for administering the extreme unction. 4) Ceremonial at the death of a nun. 5) Commendations for the dead nun. 6) Ceremonial for the burial of a nun. 7) Seven Penitential Psalms. 8) Antiphons, Responses and Hymns for the aspersions with holy water and the processions, with musical notation and rubrics in Latin, for the feast of Purification of the Virgin (2 Febr., f. 52v), Palm Sunday (ff. 54r and 59r), Maundy Thursday (f. 61r), Easter, Ascension, Pentecost (ff. 66r and 68r), the Rogation Days (f. 69r), the Vigil of Pentecost, Corpus Christi (f. 73r), the Assumption of the Virgin (15 August, f. 74v), the Dedication of the Church (f. 76r), Trinity Sunday (f. 78r) and again Purification (f. 79v). These are followed by the various melodies, with Dutch rubrics, for three liturgical formulas. 9) Text of Versicles for various periods and feasts of the ecclesiastical year. 10) Versicles for the Common of the Saints. 11) Dutch prayers for a dying nun. 12) Ceremonial for the consecration of candles at Purification, the consecration of ashes on Ash Wednesday, the consecration of palms on Palm Sunday, the washing of the altar on Maundy Thursday, partly with musical notation. 13) Fragment of the Antiphons for Pentecost, with musical notation. and Manuscript on parchment.
Alternative Title:
Ceremonial and processional and Liturgy and ritual
Description:
Binding: ca. 1500. Blind-tooled brown calf over wooden boards, both covers decorated with twice a panel containing two rows of four animals in tendrils in a frame of 16 dragons in tendrils (the so-called 24 Animals panel), separated by a frieze with the Peasants' Dance. Spine with three raised bands. Remnants of two clasps.The pastedowns are two parts of a document in Dutch on parchment (a large section between the two is missing) datable 25 August 1443. It is a chirograph in documentary cursive script, stating that before the court of Geraardsbergen ("Gheerondsberghe", Fr. Grammont, East Flanders) parties have promised to pay a debt of £ 200 in eight instalments over the next four years, 1443-1446. Among the persons mentioned are Heinrik den Haec (?), the lady de Tiennes, the aldermen of Edingen (Enghien, Hainaut?), Collaert van den Foreeste, alderman of Geraardsbergen and Coppenole, counciller of the same city. The design and letters appearing at the top and at the bottom of the document prove that it was made in three copies., Rubrics, underlining and paragraph marks in red; red stroking of majuscules. 1-line versals and 2-line plain initials in red. 2-line flourished initials alternately red and blue ; cadels with red heightening on the pages with musical notation; 3- or 4-line litterae duplices with penwork extensions in red, blue and green on ff. 1r (art. 1), 18r (art. 5), 40r (art. 6), 46v (art. 7) and 86r (art. 11)., and Script: The main scribe (A) wrote Gothica Textualis Formata on ff. 1r-46v, l. 4 (with the exception of f. 39, where another hand wrote a smaller Gothica Textualis Formata). Hand B wrote Gothica Hybrida Formata (Bastarda) on ff. 46v, l. 6 - 87v, l. 4 (artt. 7-11). Hand C copied ff. 88r-94v (art. 12) in Gothica Textualis Formata. F. 95 is 16th century addition copied in a clumsy Gothica Semitextualis. The musical notation is a variant of the Hoefnagel type. There are several later additions of music and text.
Manuscript on parchment of Thomas Aquinas, In tertium librum Sententiarum Petri Lombardi. Copied from an exemplar vended by Guglielmus Senonensis, stationer on the rue St. Jacques.
Alternative Title:
Comment on the 3rd book of sentences of Peter Lombard
Description:
Binding: 1899. Quarter leather over wooden boards, blind-tooled, with a gold-tooled label and brass clasps. Bound by Douglas Cockerell (stamp with date inside back cover)., Script: Written in neat gothic textura by a single scribe secundum pecias (notations along bottom of leaves, mostly trimmed)., Small decorative initials in red and/or blue with penwork designs of either or both colors; notes for illuminator in margins. Paragraph marks alternating red and blue throughout; running headings in red and blue., and Some folios mended with chartreuse thread.