Manuscript on parchment of prayers for priest and bishop to say before and during Mass
Description:
In Latin., Script: Written in imitation of Roman font, upper and lower case, with cursive for headings and rubrics, by N. Jarry in Paris, 1649., Title page (p. 1), p. 31 (Gratiarum actio) and p. 40 (orationes) with finely executed headpieces and 3- or 2-line initials, gold edged in red, with flowers. 2-line initials gold edged in red or blue; 1-line initials in red. Running titles and headings in red. On p. 73 a monogram that incorporates the alphabet inside a wreath tied with a pink ribbon., and Binding: 17th-18th centuries. Red goatskin, gold-tooled, with two gold-plated clasps which may be later additions. Gilt edges.
Manuscript on paper and parchment, heavily illuminated (trimmed), of Devotions to the Blessed Virgin Mary. Written in Cologne/Lower Rhine (Ripuarian language area) for Augustinian use
Description:
In German and Latin., Watermarks: similar to Briquet Armoiries 1656., Script: Text written in varying bookhands, most with batarde influence; more formal scripts for some rubrics and portions of text on parchment., Two historiated initials, 12- and 10-line, on parchment bifolios, the letters gold and blue with brown and red penwork, the figures crudely drawn in pen and colored brown, blue and green, against bright red grounds with white highlights; brown and red calligraphic flourishes with red, green, blue and yellow dots extending along upper and side edges of written space. 12-, 10-, and 9-line initials (ff. 13r, 96r, 115r, 179r, 222r, 258r, 322v) gold (or red for ff. 258r, 322v) and blue, filled with brown floral penwork designs with calligraphic flourishes and dots, as above. Floral borders for each 12- through 9-line initial (except ff. 15r and 258r), red, blue, and green flowers with gold dot centers, connected by brown ink stems, arranged in rows or spirals; ff. 13r and 84v with a vase and bird in the margins. Two 9-line initials, ff. 274r and 298r, on parchment bifolios, in a markedly different style, green and blue respectively, with yellow and white highlights, against gold grounds, filled on f. 274r with a large flower, blue and red, on f. 298r with short sections of curling pink and green acanthus. Borders large blue or red flowers with gold dots and centers or short sections of blue and red acanthus on spiraling brown stems with small green teardrop leaves. Numerous 7- through 2-line initials, red and/or blue, with brown penwork and flourishes, as above. I-initials, up to 13-line, red or blue throughout. Some capital W's in text in blue or red. 2-line KL monograms, alternating red and blue. Some portions of the text, including proper names, underlined in red. Notes for rubricator in gutter, perpendicular to text., and Binding: Sixteenth century. Original sewing on four supports attached to wooden boards. Covered in dark brown calf with corner turn-in tongues. Blind-tooled with concentric borders, an X, roses and small flowers in the central panel, roses and rampant lions in the outer borders. Two clasp-and-catch fastenings, the catch on the upper board. Rebacked and the endbands probably added. Straps replaced. Covers lined with fragments of unidentified scientific text, in Latin (15th century).
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Mary, Blessed Virgin, Saint, Augustinians., and Catholic Church
Subject (Topic):
Devotion to., Illumination of books and manuscripts, Medieval, and Manuscripts, Medieval
BEIN Mzd45 H6 1509: Hand-ruled and rubricated throughout; capitals supplies in gold on red and blue backgrounds. Hand-colored illustrations are: the printer's device on page [1], the skeleton and surrounding figures on page [2], full-page illustration of Bathsheba and David, full-page illustration of Mary surrounded by emblems (partially reconstructed when original text was removed and replaced with ms. insert?), and 18 small illustrations throughout., BEIN Mzd45 H6 1509: Imperfect: comprising 70 leaves (numbered in pencil), with lacunae after leaves 5, 6, 9, 12, 13, 17, 19, 20, 23, 30, 37, 51, 54. Text of leaves 59-60 and 65-66 has been cut out and manuscript text inlaid within the borders instead. The signatures appear to have been erased throughout., BEIN Mzd45 H6 1509: Printed on vellum. Bound in morocco with gilt tooling and edges; emblematical clasp. Dealer's description on front paste-down., BEIN 1971 439: Rubricated. Printed on vellum. Illustration of the Annunciation (page [25]) completely hand-colored. Armorial bookplate of Clarence Sweet Bement. Ownership inscription of Baron de Jean Haussonville. Contemporary manuscript annotations in several hands on the final pages, indicating events occurring in specific years. Brown blind-tooled leather binding., Signatures: A-L⁸ M⁴., Title from title-page on page [1], which bears Gilles Hardouyn's printer's device - all within an architectural frame. The device is repeated on page [184]., Imprint from colophon on page [184]: "Les presentes heures a lusaige de Ro[m]me tout au long sans rien requerir. Ont este acheuees a paris le huitiesme iour de Mars. Lan mil cinq ce[n]s et neuf. Par Gilet Hardouyn Imprimeur demourant au bout du pont au change a lenseige de la Rose desoub[-]z de la belle ymage"., Almanac on page [3] covers years 1508-1520, in French., In a Gothic type., Illustrated throughout with 19 full page illustrations, and several smaller cuts within the text., With a decorative border (primarily historiated or architectural) to every page., "R" (for Rome) on first four leaves of each quire, in a line with the signature., Initial spaces., and Collation and signatures given according to P. Lacombe, Livres d'Heures imprimés au XVe et au XVIe siècle, 199.
BEIN Mzd45 H6 1509: Hand-ruled and rubricated throughout; capitals supplies in gold on red and blue backgrounds. Hand-colored illustrations are: the printer's device on the t.p., the skeleton and surrounding figures on t.p. verso, full-page ill. of Bathsheba and David, full-page ill. of Mary surrounded by emblems (partially reconstructed when original text was removed and replaced with ms. insert?), and 18 small ill throughout., BEIN Mzd45 H6 1509: Imperfect: comprising 70 leaves (so numbered in pencil), with lacunae after leaves 5, 6, 9, 12, 13, 17, 19, 20, 23, 30, 37, 51, 54. Text of leaves 59-60 and 65-66 has been cut out and manuscript text inlaid within the borders instead. The signatures appear to have been erased throughout., BEIN Mzd45 H6 1509: Printed on vellum. Bound in morocco with gilt tooling and edges; emblematical clasp. Dealer's description on front paste-down., Signatures: A-L⁸ M⁴., Imprint from colophon: Ont este acheuees a Paris le huitiesme iour de Mars. Lan mil cinq cēs et neuf [1509/10]. Par Gillet Hardouyn imprimeur demourant au bout du pont au change a lenseige de la rose au desoub[-]z de la Belle Ymage., Collation and signatures given according to P. Lacombe, Livres d'Heures imprimés au XVe et au XVIe siècle, Paris. 1907, p. 116, no. 199., Text within compartmental illustrated borders, some with captions in French or Latin. Capital spaces. Printer's device on t.p. and at colophon., and Includes almanac for the years 1508-1520, in French.
In Latin., Script: copied by one hand in Northern Gothica Textualis Formata, in two sizes., Rich decoration: 1-line versals and 2-line initials, both of the dentelle type; 2-line KL-monograms of the same type in the Calendar. Floral outer margin borders normally on the pages with 2-line initials. Four-margins borders and miniatures above 3 lines of text opening with a 3-line foliate initial, on ff. 13r (Annuntiation), 25r (Visitation), 38r (Crucifixion), 39v (Pentecost), 41r (Nativity), 46r (Annuntiation to the Shepherds), 50r (Adoration of the Magi), 58v (Flight into Egypt), 65r (Coronation of the Virgin), 76r (Saint John on Patmos), 99r (Funeral mass). The miniatures are rounded at the top. The borders contain acanths and a multitude of gold vine and other leaves, flowers, animals, hybrids and monsters. The artist is said to be Péronet Lamy, an illuminator in the service of the Dukes of Savoy in the second quarter of the fifteenth century., and Binding: contemporary binding: brown calf over rounded wooden boards. Both covers entirely blind-tooled with rows of juxtaposed stamps: monkeys and fleurs-de-lys in the central panel; rosettes and phoenix(?) in the frame. Clasps missing.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Books of hours, Illumination of books and manuscripts, Medieval, and Manuscripts, Medieval
In Low German., Script: Written in a neat batarde by two scribes: Scribe 1, ff. 1r-17v; Scribe 2, ff. 19r-186r., Fourteen good full-page miniatures of typical Southern Netherlandish production of the late 15th century. The miniatures (except those on ff. 1v, 18v, 159r) are painted over ruling for a normal text page and are set in wide arched frames of gold and black, within a full border of blue, gold, pink, and pale orange acanthus leaves, with red, purple, and blue flowers. Illuminated initials, 7-, 5-, or 4-line, with full borders on ff. 1r, 96r, 127r, 146r, 158r, 166r, and 177r: blue with white highlights filled with red, blue, and green trilobe leaves on a gold ground, borders as for miniatures. The text is set off from the border by a narrow black, gold, white, and red frame not joined to the initial. Nine illuminated initials, 5- or 4-line, with three-quarter borders: gold on pink and blue, with white highlights, borders as for miniatures. 6-, 5-, 3-, and 2-line initials in gold on pink and blue, with white highlights; black ink hair-spray, with gold trilobe leaves and flowers, attached. 1-line initials in blue with red penwork or gold with black penwork; within the text, a black initial occasionally marked with a red stroke. Line-fillers in Litany only; leaves, cables, oblique lines with dots attached, etc., in blue or gold. Rubrics in orange-tinted red or crimson., and Binding: Seventeenth century. Resewn on three twisted vegetable fiber cores laced into wooden boards. The colored, beaded endbands are embroidered on a piece of material, probably parchment, which extends to the outside of the boards. The spine is round and lined with parchment; the edges gilt and with a faintly discernable honeycomb pattern. Covered in light brown calf, extensively gold-tooled. There are two fastenings, the catches on the upper board, brass clasps attached to leather straps which are nailed to the lower board through metal plates. The lower joint has cracked and all the spine leather is detached from the bookblock, giving the effect of a case binding.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Books of hours, Illumination of books and manuscripts, Medieval, and Manuscripts, Medieval
Manuscript fragment on parchment of the Penitential Psalms (incomplete), probably written as part of a Book of Hours
Description:
In Latin., Script: Written by a single scribe in liturgical gothic script., Carefully executed initials, 3-line, on blue or pink rectangles outlined in black, mark the beginning of each psalm; partial cusped borders, also in blue and pink, attached to each. Initials infilled with intertwining vines, often on gold ground, sometimes with small animals; modest use of gold dots inside rectangular grounds and borders. 1-line initials of blue with red penwork with blue dots and of gold with blue penwork and red dots. Line-fillers in combinations of red, blue and gold (various linear and flower designs)., and Binding: Nineteenth century. Bound in a piece of blind-tooled brown calf, once part of a 17th-18th century binding. Front pastedown and flyleaf from a Bible concordance, version 3 (France, ca. 1300). Back pastedown from 15th-century antiphonal, with musical notation, containing a portion of the office for Nicolas (6 Dec.).
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Antiphonaries, Books of hours, Illumination of books and manuscripts, Medieval, and Manuscripts, Medieval
Manuscript on parchment (very stiff) of a Book of Hours; With Calendar in French
Description:
In Latin., Script: Written in liturgical gothic verging on batarde, by one scribe., Crude miniatures by two artists whose compositions, figure types, and painterly technique reflect faintly the work of Jean Colombe, active in Bourges in the late fifteenth century. The miniatures by the first artist (all except ff. 74r and 138r) are in arched frames, in purple or crimson ink, occasionally with black cusping on the arch, tangential or close to upper bounding line, set within a 3/4 strip, either beige with alternating blue and pink flowers and black flecks, edged in black, or gold with blue and red trilobe leaves., Traced full or 3/4 borders, one (f. 25r) compartmentalized in gold and blue, with an angel bearing the arms of the Coquille family (azure, 3 escallops or [Coquille], impaled with ermine [Garnier]), red bounding line, filled with blue and green acanthus, flowers, strawberries, grotesques, gold balls, and pen flecks. Initials accompanying miniatures, 4- and 3-line, pink and blue with white highlights on gold, filled with a flower on a beige ground. The miniatures by the second artist (ff. 74r and 138r), probably an assistant to the first, are in thick crimson frames, with 3/4 borders as above, except with finer and stiffer acanthus, each with an initial, 4- or 3-line, gold on blue and crimson with white highlights. Calendar with zodiac signs and occupations of the months set within 3/4 borders, as above. 2-line initials, KL monograms, as above; name of month, dates, major feasts in gold, other feasts alternately in blue and red. Rubrics in crimson or in blue., and Binding: Nineteenth century. Tan calf case, heavily gold-tooled spine and doublures. Bound by C. Lewis (leading figure in English binding 1800-40). Dark red-brown cover (16th-17th centuries) inset on sides.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Books of hours, Illumination of books and manuscripts, Medieval, and Manuscripts, Medieval
Manuscript on parchment of a Book of Hours for the use of a convent
Description:
In Latin., Script: Copied mainly by one hand writing Northern Textualis Formata in two sizes with Central European features. A second less formal hand copied ff. 29r, lines 11-18 and 30r-31v, i.e. the beginning of art. 2. Musical notation in Nota Quadrata., Headings and rubrics in red. Heightening of majuscules in red. 1-line red versals; 2-line plain initials (sometimes slightly decorated) in red. Intricate large flourished cadels in black filled with red in the texts accompanying musical notation. Art. 4 opens with a 6-line littera duplex in red and brownish red with red penwork. Guide letters for all initials. On f. 29v full-page picture of the crowned Virgin and Child, Mary presenting a flower to the Child, on a flowery pink background in a green and red rectangular frame., On some pages the ink is very faded., and Binding: Seventeenth century. Damaged brownish pigskin over bevelled wooden boards, the covers blind-tooled with frames of fillets and rolls; the central rectangle on the front cover, otherwise free, is decorated with a large oval stamp, heavily worn but probably picturing the Virgin in the Sun. Spine with three raised bands. Remnants of two brass clasps attached to the rear cover. Marks of a chain attachment at the bottom of the rear cover. Red edges.
Subject (Geographic):
Connecticut and New Haven.
Subject (Name):
Catholic Church
Subject (Topic):
Books of hours, Illumination of books and manuscripts, Medieval, Manuscripts, Medieval, and Monasticism and religious orders
