Normandy, early 15th century.
8vo. 132 ll. on vellum skin of which 12 ll. for the calendar and 5 pages in fine of handwritten orations written later. Text in Latin, on one column, on 15 lines. Upper margin of some miniatures cut short.
Gothic writing in brown ink, the calendar in French in blue, red and gold ink on 16 lines. Numerous saints from Rouen ( January 30 : translation of the relics of Saint Anne, February 10 : Saint Austreberte, November 15 : Saint Maclou, December 30 : Saint Ursin, etc.).
Justification: 95 x 68 mm.
Full brown calf, covers decorated with a double frame of gilt fillets, spandrels with a rose in the center of which is a medallion with gadrooned edges decorated with a typical 16th century crucifixion (Christ on the cross with the Virgin Mary and Saint John at his feet), spine ribbed decorated with roses in the boxes, gilt edges. Binding of the 16th century.
173 x 123 mm.
A shimmering illuminated manuscript of fine quality, testifying to the art of French illuminators in the early fifteenth century.
The Calendar is written in French. The first page (January) is decorated with a rich frame of foliage branches, flowers and leaves painted in natural colors with golden parts. The names of the months, the great liturgical feasts and some saints are gilded as well as some initials. The other names of the saints are alternatively in blue or red-brown.
This book of hours was made for the use of a Norman diocese as evidenced by the many honored saints specific to that region: Saint Sever (bishop of Avranches), Saint Austreberte, Saint Ouen (bishop of Rouen), Saint Godard (bishop of Rouen and patron of the city until the death of Saint Romain), Saint Ursin (bishop of Coutances), Saint Romain (bishop of Rouen and patron of the city after Saint Godard), Saint Evode (bishop of Rouen), Saint Taurin (bishop of Evreux) Saint Nicaise, Saint Mellon (first bishop of Rouen) and Saint Maclou.
– pp. 14 to 30 present the devotions to the Virgin.
– pp. 31 to 49 present the “Te Deum”, the “Benedicite”.
– pp. 50-60 include prayers to St. Nicholas, St. Catherine, St. Margaret, St. Roman, St. Michael, St. John the Baptist, St. Peter and St. Paul, St. Apolline and all the saints.
– p. 75 : a text of prayers introducing the continuation of the psalms
– pp. 87-95: the hymn “Ave Mais Stella” and the “Magnificat”.
– p. 96: continuation of the Magnificat
– pp. 97-100: Canticle of Simeon
– pp. 108-130, Hours of the Cross, Hours of the Holy Spirit, Hours of the Virgin
– pp. 153-161: Litanies of the Saints
– pp. 162-163: prayer “Deus cui proprium est misereri
– pp. 166-176: the Office of the Dead
– pp. 177-216: the first lesson of the dead “parce mihi” followed by verses from the book of Job
– pp. 218-227: the French text of the “XV Joys of Our Lady
– pp. 228-235 : the text in French ” Les VII requestes “.
– pp. 236-240 : 5 handwritten pages of orations written at the very beginning of the XVIth century end the work.
This precious manuscript is decorated with 9 large paintings of beautiful workmanship:
– Leaf 13: the four evangelists (St. Mark’s face partly erased),
– Leaf 19 : Beautiful Annunciation completed with two small miniatures in medallion, one on the right side representing a mermaid near a tower holding a mirror in the right hand and probably a comb in the left hand (Melusine, representation of seduction) ; the other medallion represents three seated women (Mary, Anne and Elisabeth)
– Leaf 43 : very nice Nativity completed in the lower part of a small miniature in medallion representing the joy of the shepherds at the announcement of the birth of the Messiah (lack of paint in the faces of the shepherds),
– Leaf 52: the Presentation in the temple, a woman holds the basket that is supposed to contain the two pigeons of the “redemption”,
– Leaf 55: the Flight into Egypt, a woman in the background has her face slightly blurred as well as that of the Virgin,
– Leaf 66: Crucifixion,
– Leaf 78: King David in prayer, completed in the lower part of a medallion where are represented two characters in the middle of sheep, one in armor holding a shield in the left hand and a large double-edged axe in the right hand, the other a manant in holiday dress,
– Leaf 95: the burial. The image shows three officiants and a group of four figures in prayer, all dressed in black. The grave that has just been dug is occupied by two gravediggers laying the deceased wrapped in his shroud marked with a cross. In the background, the soul of the deceased is disputed in vain with the angel by a black devil. In a medallion in the lower margin, a small miniature depicts death piercing a high-ranking figure with a large feathered arrow.
– Leaf 121: the Descent from the Cross, with the angel, the three Marys and a fifth kneeling female figure bearing a phylactery “Mater dei memento mey”, probably the portrait of the patron of the work wanting to remember the Holy Mother.
Each of these miniatures is inserted in a superb border decorated with colored acanthus leaves, flowers, fruits painted in shimmering tones.
Four of these borders are also decorated with one or two medallions presenting religious scenes.
Nine pages of text of the manuscript are also decorated with beautiful borders decorated with colored acanthus leaves, flowers and fruits.
Hundreds of filigranted and painted initials (1 to 2 lines high) and line ends enjoy each page of the manuscript. They are painted in gold on a background of alternating blue or wine.
The book of hours presents an original iconography with the three living and the three dead.
Very attractive manuscript with paintings combining the verve of an original artist in the borders decorated with medallions, the mastery of a Norman painter of the early fifteenth century.
